“….On the monitors, you see the physical world, where people are glued to their laptops, and onstage there’s the emotional, where people flirt, cry, rant and plead for connection. The script, by Leah Winkler, who also directed with Lindsay Mack, effectively skewers the false personas and banal self-descriptions on dating Web sites while underscoring the longing….These appealing young actors have grown up with the Net. For us dinosaurs, it’s a relief to know that apparently it hasn’t made mating any easier.”. – Andy Webster, THE NEW YORK TIMES
Read full review: http://theater.nytimes.com/2010/08/16/theater/reviews/16internet.html
“The brave (or foolhardy) young artists of Everywhere Theatre Group have taken this enormous subject head-on in their aptly-titled ensemble-created piece, The Internet. Directors Lindsay Mack and Leah Winkler wisely focus only on the social elements of the Internet……The universally strong cast creates this world with the deeply-felt conviction of those who inhabit it every day. They show the intimate understanding of the generation that has grown up alongside and inside it….. While certainly frenetic at times, the piece never loses focus, and all of these disparate elements flow together seamlessly to give the impression of a single, dynamic landscape. Mack and Winkler deftly manage our attention with smooth transitions of moments emerging from and receding back into the landscape. The balance between stillness and motion, extravagance and intimacy, is spot on. Teddy Nicholas’s lighting design very effectively supports this, savvily providing the shifting structure necessary to articulate this kind of virtual space. While Chase Voorhees’s sound design is similarly intelligent ……it’s his masterful video design that truly stands out. The swooping camera and its slight upward angle to the pages manages to make the seemingly mundane act of typing into a viable stage action. The Internet is full of porn…….executed with pitch-perfect tastelessness….. I would heartily recommend The Internet to anyone looking for a fun and insightful night of theatre. The ensemble has created a piece with equal parts love and skepticism that demonstrates the uniquely insightful position of the last generation to remember a time before the Internet changed everything. Everywhere Theatre Group has given us an affecting reminder that immense and abstract as it may be, at the end of the day the Internet is made of people.” - Will Fulton, nytheatre.com
Read full review: http://nytheatre.com/showpage.aspx?s=inte10871
“The videography, care of Chase Voorhees, is often so engaging and honest that it pulls the
audience away from what is happening on stage which is equally as impressive. Director/
Choreographer Lindsay Mack does an amazing job of fusing modern dance, intense monologues,
and complex staging to present something that is as intricate as the web itself. ….The thing that
is most engaging about (The Internet) is that anywhere one looks, there is something very deep
and intricate happening…. There is enough story in every moment to fill a thousand blogs.,.. The show itself is great, but what’s more impressive is the way one feels after the show…..the audience is left thinking about which member of the cast most resembles them…and how long it’s been since they cleared their web history….this team is opening minds”- Michael Roderick, Broadway World
Read Full Review at : http://offoffbroadway.broadwayworld.com/article/BWW_Special_Feature_99_and_Under_the_Radar_Smashing_the_Mirror_20100820
“There have been numerous pieces of theatre, film, television, and literature that have embarked on a journey into the psychologically violent depths of the social impact of female body image on the lives of women and young girls. Big Girls Club (The Happy Happy Dance Princess Show), part of The Brick’s Antidepressant Festival this summer, is maybe the most direct and biting I have experienced. – Matt Johnston, nytheatre.com
(Big Girls Club) sets itself up to be a commentary on the sadistic nature of women and how media, society and personal image drives them to be unhappy. ….Winkler’s intent is clear.-The New York Press
“This ambitious piece of original theater, written and directed by Leah Winkler, feels, at times, like a cubist episode of the Twilight Zone. Winkler creates a kind of echo chamber of memory, combining scraps of movement with live music and text to investigate the suicide of a frustrated composer. The music, performed by a trio of musicians on stage, is brilliant and performances by Marc Szewczyk and Robin Darling are effective. ……it’ll stick with you when other Fringe shows are just a blur” —David Hoppe, Nuvo News Weekly
