Half of Plenty
“Heart-rending and funny scenes, tapping into the strengths and foibles of two respectable citizens who want nothing more than their share of happiness. Mandan finds big laughs in the childlike antics of the crazy-like-a-fox father, while subtly evoking poignancy at appropriate moments.” Backstage
“Directed with impressive tonal control… working America on the edge of a nervous breakdown, “Half of Plenty” is painfully, wryly accurate.” Los Angeles Times
“Soars! A remarkably well-thought-out presentation dealing with subjects that touch almost everyone. Exceptional performances.” Reviewplays.com (Pick of the Week)
“Choices are clean, clear, and very funny. Robert Mandan is his usual excellent self… fascinating…interesting piece, and the company is a welcome addition to the LA theatre scene.” Blogcritics Culture
“Crisp direction of a spot-on cast, aided by the polished support of a fine design team ably fills the gaps with laughs.” LA Weekly GO!
“Rogue Machine is a relatively new theatre company made up of people I respect… The play is well directed by Barbara Kallir… Robert Mandan’s work was fascinating to see.” Stagehappenings.com
“Strong tight paced production.” American Network Radio
Bingo with the Indians
Nominated for 2009 GLAAD “Outstanding Los Angeles Theater Award”
“The acting is exceptional… perfectly suited for Rogue Machine’s late night alternative series.” EyeSpyLA
“A splendid seven-member ensemble make the grotesque goings-on in this West Coast premiere staging quite gripping, generating food for thought and a fare share of shivers. The enduring elements in this unnerving piece are its droll pitch-black humor and the fascinating portrait of pure evil—likely to turn off some audiences while mesmerizing others. The performances are superb, finely calibrated under Block’s sharp direction.” Backstage
“This production is polished and still retains that raw edginess that allows for some spontaneity on stage…intelligent and witty script that is actor friendly and packed with thought-provoking themes. Norris is absolutely captivating.” Edge Magazine
“Achieves a naughty thrill.” LA Theatre Review
“The play lives up to expectations…all give brave performances…especially fine work between West Liang as the sexual predator and Brian Norris as the motel boy he seduces. Their work is outstanding.” Blogcritics Culture (Editor’s Pick)
“Puette and Harrison do imposing work, well attuned to each other’s strengths…admirable.” Los Angeles Times
“A tender performance…” LA Weekly GO!
“An inventive and thought-provoking glimpse at the rewards and sacrifices of emotional growth…richly evocative performances.” Backstage
“The strongest plays are coming not from Broadway but from Off-Broadway. It is an extremely moving, hysterical, and most importantly truthful look at relationships. The moments between Callie and Sara were truly wonderful.” LA Splash
“Riveting drama…Harrison is incandescent as Sara. crisp and sharp. There are plenty of laughs, but some of the best moments are completely silent. If you are with someone and you don’t know where you stand, take a seat at Stop Kiss.” EyeSpyLA
“A compelling and gripping tale nested in all the elements of excellence… outstanding in their portrayals. Reviewplays.com (Pick of the Week)
“Engrossing experience…all-around excellent work. Worth seeing…actresses who command our interest and touch our hearts. There is much to praise.” Stage Scene LA (Recommended)
Now published by Dramatists Play Service!
Listed by LA Weekly as one of the ten best plays in Los Angeles in 2009.
Winner of three LA Weekly Awards for Set Design, Sound Design and Lighting Design.
“Intriguing new spins on the futuristic-thriller genre…funny scenes…startling resolution. Visceral wonderment, while committed actors eloquently illuminate Murray’s disturbing themes. Flynn elicits brave and intelligent portrayals from his ensemble. Liang and Norris offer powerful portraits of adolescents struggling to assert parental guidance while dealing with the immaturity of their years and the constant threat of danger. Pugach is a revelation as a hyperactive youngster, indulging in strident childish behavior that can’t mask the fear and despair behind it. Verafield excels as the catalyst who stirs up the household’s fragile status quo. Stephanie Kerley Schwartz’s sprawling set, Leigh Allen’s lighting, and Lauren Tyler’s costumes compellingly support the play’s electrifying ambience.” Backstage (Critic’s Pick)
“Achingly true, without a hint of morbidity, and even glimpses of humor, under John Perrin Flynn’s studied direction.” LA Weekly GO!
“Henry Murray’s Treefall… is the first new theological drama I can remember in a long, long time. It’s not unlike the kind of new play that used to emerge in the early years of London’s Royal Court Theatre – grimy, primal, heady, despondent yet inexplicably giddy – making for the sheer truth of the ache in its heart. John Perrin Flynn’s tender staging elicits gentle, truthful performances from his wonderful ensemble in a tone that counters the play’s waves of tragic romanticism with riffs of subtle humor — all of which keep the maudlin at bay. Meticulously designed.” Steven Leigh Morris (LA Weekly)
“Finely tuned performances and a spectacularly detailed scenic design…visually and emotionally gripping.” Los Angeles Times
“Rogue Machine is always pushing the envelope, exciting audiences, and should be hitting on national prominence any minute now.” EyeSpyLA
“Absorbing piece of theater… excellent direction. Talented, charismatic young cast, superb design team, thought-provoking writing. Wow!” Stage Scene LA
“Visually and emotionally gripping. Effectively drives home its cautionary message about the environmental legacy we’re neglectfully creating for future generations.” Los Angeles Times
“Worth visiting.. the thesps execute the bittersweet denouement with consummate skill…savor the occasions of loopy behavior right out of Lewis Carroll.” Variety
“The comedy is lyrical, urbane and erotically charged.” LA Weekly GO!
“Nagy’s smartly designed and skillfully acted production is intriguing…a bold and thought-provoking piece that’s well-served by the ever-adventurous Rogue Machine.” Backstage
“The plays’ richly colored characters are fascinating… Wins the award for the most challenging theatre I’ve seen thus far in Los Angeles.” LA Theatre Review
“Remarkable play…excellent cast. Production values are consistently good at this theatre.” Curtain Up
“Marvelous actors… polished ensemble.” Santa Monica Daily Press
“Nagy’s heightened language and uncommon use of a three-act structure give her play about a luckless family of misfits the sound and feel of a concerto… Fine ensemble cast.” Culture Spot LA
“Nagy’s sense of language is rich… outstanding cast. Production values are very high-end at the small Rogue Machine…impressive.” Valley Scene/Coast to Coast
“A strong cast, beautiful costumes and a brilliant set design bring it all together.” Campus Circle
“A fascinating surrealist portrait distorted by lunacy seen through the lens of enabling love. The cast is excellent. Nagy’s play breaks new ground.” EyeSpyLA