The road’s been good to us. Some highlights include:


“CRITIC’S PICK!   Sam Shepard…as it OUGHT to be… Strange… funny… BRILLIANT.

When the results are THIS GOOD… charismatic, incisive work … make the show WORTHWHILE … It helps, too, that the show’s pacing is nearly PERFECT…”

Seattle Weekly


“In the interplay between the two performers develops a devilish exchange of blows, A BOXING MATCH WITH WORDS. The actors achieve the author’s intention, approaching the vocal rhythms of a jazz improvisation. With expression and movement they realize THRILLINGLY Shepard’s vision…”

Die Rheinpfalz, Mannheim



“The Eurotheater earns . . .recognition of people who enjoy hearing theater in the original language. Respect!


   In the play’s comedic form, tragedy is also wrapped. It’s all staged with light, comic means. And Stephanie Roberts plays the young woman with WONDERFUL INTENSITY….”

Bonner Rundschau


“Insight America takes this ABSURDIST COMEDY… and TRANSFORMS IT into a critique of contemporary America. MAKES THE POINT that what Tesich was writing … now APPLIES TO US. It’s an EXCELLENT point … Becker and Cole prove themselves to be DELIGHTFUL AND SKILLED! …a VERY GOOD concept!”

S.L. Morris, LA WEEKLY


“This absurdist story HITS THE MARK! The comic political satire resonates…with a savvy audience. COMEDY TRUMPS misfortune, but provides provocative afterthoughts.

“Director-actor Becker handles the futuristic world with a light touch. Lisa Cole’s comic timing is a good match for Becker’s genial cipher. He is A PERFECT FOIL FOR AN ORWELLIAN WORLD.”

Backstage West (Los Angeles) 


 “Cole and Becker are FANTASTIC in their roles! Cole … with an engaging innocence and Becker PERFECT as an Orwellian clone. HUMOROUSLY DISTURBING…highlights TIMELY TRUTHS…Becker does a great job of directing each scene by placing the EMPHASIS ON THE ABSURD.  A futuristic comedic satire that has subtle points… If you enjoy thought-provoking dialogue and investigative thinking, then THIS PLAY IS FOR YOU!”

 — Metro LA


 “FIRST CLASS ACTORS! The actors perform with wit and energy… Not for one moment does the performance lose suspense or decline into mere farce…

   EVERYTHING IS FINELY TUNED, including music and lighting…

The play comes to life from the liveliness of the characters… [the actors] draw not with broad strokes, but with a great sense of subtlety…

   MAGNIFICENTLY COMIC… This evening both actors earned the title First Class Artist.”

Kieler Nachrichten, Kiel Germany


“From the very beginning the director lays open the souls of the protagonists…VERY FUNNY…

  Convincingly played … it simply seems as if the rôles were tailor-made for these actors. …Satirical and simultane­ously entertaining…

 — Frankfurter Allgemeine Zeitung, Frankfurt


“With only a few props, the actors painted A SHOCKINGLY PRESENT PICTURE of the future… After AN EXCITING ACHIEVEMENT ONSTAGE, they earned much applause…”

Bonn General-Anzeiger





“CRITIC’S PICK. Zoo Story is ripe with psychological intrigue, especially in the more than competent hands of Insight America. [The actors] deftly juggle the shifting power games…   The Albee monologues… give you MORE THEATER FOR YOUR BUCK. Becker and Slinger’s PRECISION AND HONESTY reveal their CAPACITY TO LOOK INTO CHARACTERS’ SOULS.”

Seattle Weekly



   — Paris Match, France


 “HERE STAND TWO ACTORS WHOSE FORCEFUL PRESENCE … THREATENS TO BLOW THE COZY CHAMBER THEATER APART. Jerry’s half-tender, half-violent solicitation of the clueless Peter is SUCCESSFUL IN THE EXTREME … ‘The Zoo Story’ has an arc of tension not to be taken lightly and not easy to take.

   In the role of the outcast, Alan Becker leaves nothing wanting; HE REELS AND RAGES, IS OFFENSIVE AND CHARMING, CYNICAL AND WITTY, INTENSE AND IRRESISTIBLE.

   Albee’s declared intention is to shake up his audience: ‘I believe if you don’t LEAVE THE THEATER A CHANGED PERSON, you’ve wasted your money.’

   This Zoo Story from Seattle is NO WASTE OF MONEY: Grippingly staged, in clear, understandable English, and splendidly played!”

General-Anzeiger, Bonn, Germany


A TREAT! … DELIGHTFUL INSIGHT into Edward Albee’s work.”

   — Munster Express, Waterford, Ireland


“EXTREMELY ‘SEE-WORTHY’ … Here communication is a desperate attempt to make contact…That in the end the connection is indeed achieved is A FLASH OF BRILLIANCE at the play’s climax.

   A production well worth seeing … with INSPIRED ACTING by performers who understand just as well how to play subtle mimicry as spectacular emotional eruptions.

   …THE THEATER IS NOT DEAD – at least not as long as there are playwrights like three-time Pulitzer winner Edward Albee…”

   — Tageszeitung, Bremen, Germany


“A SHARP, STRONG SHOW… Very effective lighting effects… the focus is on Albee’s words and the three Seattle actors, and it proves to be A WINNING COMBINATION… CAPTIVATING!”



“A PERFECT SLICE OF EDWARD ALBEE PIE! Acting in this material is no easy feat… they have to keep it real… The ACTORS DELIVER A PERFECT SAMPLER of Albee’s world.

   Slinger switches easily from humor to tragedy. Becker excels as well. Such existential angst could become trite under the wrong hands, but Becker plays it calmly and gracefully… the actors understand the ebb and flow of pace, and play off each other’s styles while additionally creating enough tension for the unexpected ending. … You witnessed two actors relishing their craft.”

Seattle Gay Standard



“GREAT! … The play is given life by the stage presence of the three professional actors, whose roles fit their bodies like their tailor-made suits, and who IN SURPRISING WAYS CONTINUALLY REVEAL THE INNERMOST OF THEIR CHARACTERS’ MOST VARIED FACETS…”

Kieler Nachrichten, Kiel Germany


“Chris Comte as Bobby, the fresh-baked Hollywood producer, is convincing from the first moment…Becker as the colleague bound by friendship gets to really rip into his role in the final scene (that he gives Bobby a bloody nose in the process is the only thing that seems out of place in the lively staging by DJ Hamilton)…”

Mittelbayerische Zeitung, 
Regensburg Germany


“It speeds along the track of original-language plays, one of the best inventions of the Eurotheater. And speed along it does!  Hamilton has staged the infamous Mamet double-meanings excitingly…”

Bonner Rundschau