2005

Spring 2005
The Swan
by Elizabeth Egloff

Directed by Eva Burgess
“The Swan is a gritty, poetic exploration of love that strips away “convention” and goes after the animal instincts that lurk in the shadows of romance. No, not lust (though there are some moments of intense sexual tension in the play) but the unflinching connection between two individuals, and the uncomfortable question of where that connection stems from. The Nicu’s Spoon production takes a direct run at those complex questions and flings itself stubbornly on them with few frills and no standing around. Everything is stripped down to expose the characters and their hearts like naked beasts, struggling in the wilderness. If you’re ready to sort through the depths of your emotions, though, this won’t disappoint. The Swan may be an unconventional lover, but it’s a revealing exploration from a company that’s clearly not afraid to ride out some rough spots in the pursuit of awkward and beautiful truths. ”
- Daniel Burson, OFFOFFONLINE.COM

” The Swan, by Elizabeth Egloff, is quite a remarkable work. It’s half allegory, half dream sequence. It’s dangerous theatre because it requires that the dramaturg be competent enough to see past the words on the page, which on first read might seem like gibberish. And, once mounted, it assumes that its audience members are all capable of independent thought and imagination. In short, it’s my understanding of what theatre is supposed to be all about. All three actors handle Egloff’s text seamlessly even as it grows increasingly bizarre and surreal. Nicu’s Spoon Productions has done a fine job with this challenging play. Extra kudos for having the courage to mount it in the first place. ”
- Liz Kimberlin, NYTHEATRE.COM (*starred, Editors Pick Review)

Summer 2005
The Little Prince
by Ric Cummins & John Scoullar, from the novel by Antoine de St. Exupery

Directed by S. Barton-Farcas
“Very sweet and incredibly imaginative with the use of actors becoming everything from airplanes to trees. The story was so sweet and your cast was wonderful. I really enjoyed it. It was nice to be able to see this as I had never read the book! ”
- Katharine Rust, TIMEOUT NY KIDS

” There was a lot of inventive work here, given the limited resources and space. Costume designer Jessica Lane was to be commended for her creativity, as was director S. Barton-Farcas for the vivid pictures and fluid flow of the production. For a play about the importance of the imagination and dreams, this production lived up to its mantra by demonstrating great imagination. If the company had creative challenges facing them, they tackled them head-on. ”
- Michael D. Jackson, OOBR

Fall 2005
Stumps
by Mark Medoff

Directed by S. Barton-Farcas
“I didn’t see their production of To Kill A Mockingbird, but after seeing Stumps, I wish I had. The staging of director Stephanie Barton-Farcas doubles speaking roles with on-stage performing doubles who speak in sign language. It’s a sparkling idea, and in moments, you can see its true potential. The signing performers are intricately worked into the main action. The doubles are extensions of the actors, and in many cases, are cast as gender opposites, creating some intriguing stage pictures. In fact, Nicu’s Spoon is to be commended for the sheer amount of diversity in this small cast. I have a great deal of respect for the company and the quest for diversity. It certainly made me think and I thought all the performers did beautifully. Nicu’s Spoon’s staging, mission for diversity and ASL techniques are powerful and will undoubtedly bring them fantastic success. I think this company has a great deal of potential and vision. I’ll be happily coming to their next performance.”
- Matt Freeman, NYTheater.com

“Theatre for the deaf and theatre for the hearing rarely have much to say to each other. But in both cases, interpreting the play is a practical rather than an artistic consideration. Director Stephanie Barton-Farcas recently challenged that convention. In her production of Stumps she demanded that both spoken- and signed-language performers not merely interpret, but join forces to illuminate the play’s emotional core. Each actor was directed to fully play the role - the speaking actor played the character’s public persona while the signing actor played the internal reality. But the double casting served an even greater purpose, because pushing artistic boundaries and challenging artists is not Nicu’s Spoon’s only mission. This company has been working for years to give voice to people who are often unheard. They make connections not just between performers and audience, but between people.”
- Maggie Cino, United Stages