“Director Stephanie Barton-Farcas, the artistic director of Nicu’s Spoon, recently challenged that convention. In her production of Stumps by Mark Medoff, she demanded that both spoken- and signed-language performers not merely interpret, but join forces to illuminate the play’s emotional core. To accomplish this she cast two actors in every role: one speaking, one signing. 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. Darren Frazier, one of the signing members of the company and a veteran sign-language actor, announced, “This was a new experience for me, groundbreaking.” This company has been working for over four years to produce socially relevant works and 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 2005
“Nicu’s Spoon’s revival of Margaret Edson’s 1999 Pulitzer Prize winning play is certainly full of WIT – but better than that, it’s hilarious, heartrending and profoundly haunting. You feel its impact long after you have left the theater.” Di Jayawickrema, THEATERTALK 2010
“I could go on and on about this talented and connected ensemble of actors, who’s tremendous honesty is so refreshing to watch. The production… of Buried Child…is quite impressive. This show is what live theater is supposed to be and proves that it still exists. Unfortunately, it is rare to see this kind of theater (even though its exactly what all theater should be); the kind that leaves its audience breathless and wanting more.” Nicholas Linnehan, THEATERTALK, 2006.
“In a world where expressing an opinion can earn a person the epithet “traitor,” the subject matter of 1984 is clearly relevant. This massively important book has been adapted for the stage by Nicu’s Spoon, an exciting new theater company that is gaining a reputation as one of the better off-off Broadway companies in the city. This production represents the type of risk more companies should be taking.” Tim Browning, THEATERSCENE, 2003
“How the Day Runs Down Director Stephanie Barton-Farcas, which began its run at the Spoon theatre yesterday is based on a short story by John Langan. This production combines the story of “Our Town” with the classic work of George Romero, creating a zombie masterpiece unlike anything currently being performed in indie theatre in New York City.” Patrick Hickey, Jr. REVIEWFIX, 2011
“I’m alienated too, man! But at least there’s Oreos.” Such is the rallying cry of teenagers everywhere, especially those trapped in the generic wasteland of suburbia. Nicu’s Spoon’s production of subUrbia perfectly captured the futile energy of adolescence — all revved up and nowhere to go. Bogosian is one of the best writers around, and subUrbia is haunting in its accuracy. Nicu’s Spoon, known for its small but excellent productions of current playwrights (most recently Mac Wellman’s A Murder of Crows), scored a hit again with subUrbia. It was sure to resonate with anyone who ever wanted to get out.” Jenny Sandman, OFF-OFF BROADWAY REVIEW, 2004
“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.” Daniel Burson, OFF-OFF BROADWAY REVIEW, 2005
“Since 2001, Barton-Farcas’s theater company, Nicu’s Spoon, has worked to de-objectify its diverse base of performers to create a dynamic and proficient group of artists. With a proven commitment to working for social change in theater by populating it—both onstage and backstage—with performers of all shapes, sizes, colors, ages, and abilities, Nicu’s
Spoon has produced risky and thought-provoking productions, earning kudos from both audiences and critics.” Amy Krivolahvek, OFF-OFF ONLINE, 2007
“This is the time of year when theater is often staged in barns, but New Yorkers don’t have to go to Maine or the Midwest for the experience. There’s a ripping good performance taking place in a barn right on West 21st Street in Manhattan. The 13 skilled actors in this production, Elizabeth Rex, by the Nicu’s Spoon company, transport you back to Shakespeare’s day effortlessly.” NY TIMES CRITICS PICK, Neil Genzlinger 2008
“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. 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, NYTHEATER, 2005
“Sometimes just contemplating the enormity of injustices done to women on this planet — everything from female genital mutilation to the murderous oppression of the Taliban regime, to child prostitution in Southeast Asia, to rape crises in South Africa, to rape camps in the former Yugoslavia, to war whose main victims are women and children, to garden variety disrespect, abuse and exploitation — is nearly enough to make one go postal. Often the best thing one can do, especially if one is an artist, is bear witness to some of it. Displaced, the fierce, moving play by Stephanie Barton-Farcas, Natily Blair, Julie Campbell, Gina Daniels and Jo Yang does that. Displaced is presented by Nicu’s Spoon and leaves the viewer not only angry but amazed and humbled by the women’s resilience, and grateful for the comfortable American life she has been blessed to lead.” Arlene McKanic, GREENWICH VILLAGE GAZETTE, 2001.
“The author of “Ordinary People” is the first to acknowledge that the characters in her novel are not ordinary to begin with – they are wealthy, they live in the suburbs, as readers regularly make a point of telling her. But, to Guest, the ordinary in the title refers to the characters’ emotions and to their problems and relationships. She had no involvement in the Nicu’s Spoon production, but said she appreciates how the company is “shaking up” the whole picture of “Ordinary People” with a multiracial cast and thereby commenting on the story’s universality.” Jessica Marmor, COLUMBIA SCHOOL OF JOURNALISM, 2004
“Beautiful Thing is a tenderly drawn play by Jonathan Harvey about two teenage boys falling for each other in working class South London. Staged by Nicu’s Spoon as part of their 10th season’s focus on outcasts, Beautiful Thing is a subtle and detailed look at the complex evolution of romantic and familial love. This is never less than engaging and is often lovely.” August Schulenberg, NYTHEATRE.COM, 2010
“In Tales of the Lost Formicans, Constance Congdons satirical critique of 1980’s suburbia, a cadre of friendly aliens is replaying scenes from American suburbia to puzzle out the complexities of the family unit. With Formicans the company tacklesthe subject of Alzheimers disease and has cast an actor with cerebral palsy.” Jerry Portwood, NEW YORK THEATER, 2007
“The recent presentation of “To Kill a Mockingbird” by fledging theatre company Nicu’s Spoon was nothing short of inspiring. Director Stephanie Barton-Farcas’ staging didn’t just break the fourth wall; it inventively obliterated it. Actors roamed into the audience, which itself served as the jury in pivotal courtroom scenes. So why was the production inspiring? the company’s love of literature and the craft of acting shone. It was obvious that for all involved, this was truly a labor of love. Such purity of purpose is rarely found these days-but it is the essence of good theatre. Expect great things to come from Nicu’s Spoon.” Lee Collins, BACKSTAGE, 2002