Press

Mel Gussow – The New York Times

As staged by Marjorie Ballentine at Theater Labrador/New Georges, “Vinegar Tom” is provocative theater as well as a conscience-baring feminist document. The result is fueled by the fierceness of its conviction and makes the audience understand that injustice against women is not simply historical but perpetual. These are people fighting for their lives without armaments or hope, not even that of a spiritual survival. The show echoes the conviction of the writing with an intensity of identification.

21 March 1992 / VINEGAR TOM

Clive Barnes – The New York Post

Currently, it is being given what I take to be its American premiere by Theater Labrador/New Georges at the Westbeth Theater Center. At first this new-ish (founded less than two years ago) activist group was told by Churchill’s publishers that the production rights were not available, but they secured permission by pleading personally to the playwright herself. It’s a lucky break for all concerned.

“Vinegar Tom” is a fascinating piece, full of life. The Theater Labrador – a group new to me – does it justice. Marjorie Ballentine’s staging is firm and direct, and the acting has an intensity and naturalness that does Churchill’s always incisive writing proud.

Here is a play for men to see and anti-feminist women to note.

17 March 1992 / VINEGAR TOM

Paul Grant – Show Business NYC

There are no monitors, no attempts to update, and above all no cynical self-reflexivity in The Brave New Theatre Company’s production of “The Glass Menagerie” directed by Marjorie Ballentine. There is only a refreshingly genuine attempt to play it straight and allow the power of Williams’ dramatic acumen to be transmitted through this profoundly talented cast and crew.

“The Glass Menagerie” is again a success, and Marjorie Ballentine’s production reminds us that theatre can be powerful, contemporary, disturbing, and conscious-shaping by accepting a traditional form but playing it as if it were the only thing in this entire world that matters. 14 July 2000 / THE GLASS MENAGERIE

Victor Gluck – Backstage NYC

Marjorie Ballentine’s production of “The Glass Menagerie” is one that Tennessee Williams would have appreciated. From the realistic 1930’s setting by William F. Moser to the atmospheric lighting of Jason Livingston (which changes colors to symbolize the mood) to the modulated and moving acting of the quartet of actors, this is a “Menagerie” that reverberates long after the final curtain has fallen.

14 July 2000 / THE GLASS MENAGERIE

Rik – NYTHEATRE.COM

It’s always a pleasure to see a Tennessee Williams production wherein the company just sticks to the script. No re-interpretation, no changes to make it “more relevant”; just a pure rendition of the original. And that is just what The Brave New Theatre Company has done in this production, respectfully directed by Marjorie Ballentine.

A play this great, directed with skill, is worth seeing.

14 July 2000 / THE GLASS MENAGERIE

Sylvia Ciuffetti – Worcester Telegram & Gazette

Director Marjorie Ballentine has cast a variety of experienced and inexperienced actors, and guided them until they reached equality. No one is overshadowed; no one stands out as better than everyone else. This makes for an extraordinary ensemble performance. Part of the AmeriCulture festival’s stated mission is to “engage, entertain, educate, and establish an environment where both audience and artist are encircled by the outcome.” “Steel Magnolias” fulfills each of these requirements.

23 August 1999 / STEEL MAGNOLIAS