The Adding Machine
by Elmer Rice
Six Figures Theatre Company
by Susan Glaspell
The Mint Theatre Company
"...PACKS A WALLOP"
Victor Gluck, Backstage Critcs' Picks
"There's much to admire in the play, in director Linda Ames Key's clear production, and above all in the spirit of the Mint."
Donald Lyons, New York Post
"...an excellent rendition of a play that has undeservedly been cast aside ... a splendid work of theater, one that speaks resonantly to use today as we approach the dawning of a new millenium."
"...the play jolts to life. Its message suddenly seems timely, even inspiring."
"Beautifully directed by Linda Ames Key, ALISON'S HOUSE is talky, old-fashioned and dated. It is also dramatic, engrossing and moving."
Victor Gluck, Backstage
Anton in Show Business
by Jane Martin
Dreamcatcher Repertory Theatre, NJ
"The work the seven actresses in ANTON IN SHOW BUSINESS are doing under Linda Ames Key's take-no prisioners direction shows that talent and elbow grease can make for a memorable production anywhere."
Peter Filichia, Star-Ledger
Clowning the Bard
Conceived and Directed by Linda Key
and Six Figures Theatre Ensemble
(Histories by Julie Hamberg)
by Kate Aspengren
Six Figures Theatre Company
'The production's strength lies in its ensemble work. At various moments, a principle of flight such as lift, gravity or thrust is defined, while the cast creates beautiful living sculptures with their bodies. It is in these moments, which outside linear time and into the realm of imagination, where the play begins to take wing"
by Suzanne Bradbeer
Vital Theatre Company
"Suzanne Bradbeer's FULL BLOOM produced by Vital Theatre Company has a lot going for it, starting with some excellent performances."
New York Times, Phoebe Hoban
“Everyone is looking for an answer,” muses teen-aged Phoebe late in Suzanne Bradbeer’s excellent, open-ended question of a play, Full Bloom. While the playwright channels numerous authors, beginning with Sophocles, to position the Harris family as the contemporary descendent of J.D. Salinger’s Caulfields, the strength of this play was found in its focus on a real teenager, Phoebe, and her struggle to come to terms with her own developing body.
Deborah S. Greenhut, OOBR
The Laramie Project:
10 Years Later
by Moises Kaufman and Members of Tectonic Theatre Ensemble
Dreamcatcher Rep & Summit Playhouse
Lone Star Grace
by Suzanne Bradbeer
Six Figures Theatrical Company
“The pleasure is in the language, which teases and twirls, as Barbie Ann, a living variation on the plastic one, does a dark comical night of the soul in a Texas outpost.”
The Village Voice
Acclaim for other works by Suzanne Bradbeer and directed by Linda Ames Key:
RITA FAYE PRUITTE
"(Bradbeer's) characters are quirky creations which come to life in the hands of director Linda Ames Key and her talented cast."
Backstage, Elias Stimac
by Jean-Paul Sartre
The Pearl Theatre, NYC
Under Linda Ames Key's penetrating direction, Bradford Cover as Cradeau, Jolly Abrahams as Inez and Sameerah Luqmaan-Harris go at each other hammer and tongs, all acting skills honed.
Feiner's drawing room idea here is to place three solid-color divans about and a tall standing sculpture that Donald Judd might have concocted in a hurry. The inspirations here are the high walls. At first, it looks as if they're papered with an abstract pattern, but as the one-act tragicomedy progresses and Ann Wrightson lights them from behind, mountains of debris are revealed, hemming in the three dead combatants that much more claustrophobically.
Feiner has crafted what may be the best set the Pearl has ever seen. It's only fitting, since this is without question one of the finest productions the company has ever offered.
David Finkle • The First Nighter: Huff Post Arts & Culture
The current production of "No Exit" presented by The Pearl Theatre Company was my first exposure to this group that regularly produces stage classics. It will certainly not be my last visit. This production is stunning in its design and execution. Directed by Linda Ames Key, the cast of two men and two women are flawless in their interpretations of Sartre's hellish characters who serve as one another's tormentors in the embodiment of the author's iconic line:"Hell is other people." This is theater at a very high level of professionalism. It comes with my strong recommendation.
Al Chase • White Rhino Report
Director Linda Ames Key successfully makes her Pearl debut with this maelstrom of emotional complexity.
No Exit makes for a compelling evening in the theater.
Looks like hell is a step up, as the characters in Jean-Paul Sartre's mid century allegory step off the elevator into a swank upscale loft in the Pearl Theater Company's stylish production of No Exit. A first New York revival since its award winning Broadway debut in 1946, the play, adapted from the French by Paul Bowles, is freshened up: a statue of Napoleon from the original is now a modernist sculpture, a microcosm of the loft space. The ensemble, featuring Bradford Cover, Jolly Abraham, Sameerah Luqmaan-Harris, and Pete McElligott, is good at conveying this imagined post-death dialogue. And this being 2014, the politics are less specific than Sartre's post-war vision of eternity, but the mood could not be more focused. Behind a scrim on both sides of the stage, the detritus of lives, broken furnishings, and just plain stuff are a reminder: You won't need them here.
Hell is other people: That is the startling (and oft cited) epiphany of Cradeau, one of the three characters in Jean-Paul Sartre's 1944 play No Exit, now receiving a revival at The Pearl Theatre Company. Cradeau's revelation may be true, but in director Linda Ames Key's intelligent and well-acted production, it is only part of the story.
Zachary Stewart • Theatremania
Boasting lofty ceilings, windows to the living realm, and a torture room made just for you, the hell of Jean-Paul Sartre, as revisited by director Linda Ames Key, is slow, subtle, and poetically just.
The production leaves us wondering whether we're supposed to pity the characters or feel as though justice has been served. We're left with a strong sense that the three of them are still there after we've left the theatre, raking each other over the coals, forever circling.
Anna Chazelle • Exeunt Magazine
If Jean-Paul Sartre now occupies some dark corner of Hades -- heaven would surely be a torment to him -- then he must be gazing up with a smile these days, thanks to the Pearl's revival of No Exit. A work more likely to turn up in a college syllabus than on a New York stage, it proves to be surprisingly playable in Linda Ames Key's fully clawed production.
If you've ever contemplated what the phrase "laughter of the damned" signifies, you can experience it firsthand at the Pearl.
Lighting & Sound America • David Barbour
Jean-Paul Sartre's No Exit, directed by Linda Ames Key at the Pearl Theatre Company (using Paul Bowles's translation), charmingly grapples with heavy existential questions by skipping ahead to the afterlife.
As the lightness that characterized the start of the play seems to have faded completely, the final moments bring it right back, with an edge of lunacy injected in. It's a great way to end No Exit, masterfully executed by Key and the actors alike. And—if I may offer the strangest compliment I've ever given to a play—it will make you appreciate the theater's exits (located to the left and rear of your seat) more than you ever thought possible.
Jacob Horn • Curtain Up Review
In 2011, as a master's student, Linda traveled with a CUNY School for Professional Studies delegation to Kigali Institute of Education where she co-taught workshops in Introduction to Drama Conventions and Forum Theatre, and performed and co-facilitated a production of THE DRUMMERS, under the tutelage of Professors Chris Vine and Helen White.
In 2013, she returned, with the help of a Fulbright Specialist grant and taught workshops in Concrete Mime as well as co-devising and facilitating a production of THE LAST TOWN ON EARTH.
Three Days of Rain
by Richard Greenberg
Dreamcatcher Repertory Theatre
"A MUST SEE"
As well as Linda Ames Key directs Burnett and the play, she does an eqally impressive job with Clark Carmichael, who first plays Pop (Theo's son), then Theo himself. In the first act, he too rages with the ferocity of a forest fire.
Peter Filichia • The Star-Ledger
January 30, 2001
"Dreamcatcher's THREE DAYS OF RAIN Stirs up a Theatrical Windstorm"
The Montclair Times, Naomi Siegel
You Miss Them When They're Not Around
by Suzanne Bradbeer
Dreamcatcher Repertory, NJ