Monday, March 7, 2016


Through April 3, 2016

Bob Abelman

This is a lovely story but, as with the early works of many fledgling authors, it is thinly told and full of implausible, forced and structurally graceless moments. What should be a small, delicate watercolor portrait is rendered with expressionistic subjectivity, broad strokes and unrefined technique. Fortunately, it fell into the hands of director Leighann Delorenzo. Her delicate touch has tapped all that is heartfelt and beguiling in the script. And her eye for casting has allowed it to take form on stage.

To see a full review of this show, read Bob Abelman's CJN article blog here.

Roy Berko

Though there are flaws in the writing, Dobama’s THE REVISIONIST is a must see to experience the great Dorothy Silver and the very talented Andrew Gombas.  These performances deserve a standing ovation!

To see a full review of this show, read Roy Berko's blog here.

Mark Horning

If you have yet to get your fill of the strangeness that this theater season seems bent on providing, then “The Revisionist” is your cup of vodka.  Dorothy Silver reminds us all that it is after all the actor that makes the show as her small nuances give light to a burdensome script.  In anybody else’s hands this play would suffer terribly.  Dorothy saves the day with her fantastic talent.

To see a full review of this show, read Mark Horning's blog.

Christine Howey

Director Leighann DeLorenzo enables Dorothy Silver to do her thing, crafting every word and gesture with the specificity, intelligence and wit that have long been the trademark of her performances. You must see The Revisionist for that reason, since any other reasons pale in comparison.

To see a full review of this show, read Christine Howey's blog Rave and Pan

Andrea Simakis

Though she has a knack for making any role feel organic, her Maria is one for the ages. Whether delivering lines in seamlessly accented English or bantering with Zenon in Polish, Silver gives us a woman who has decided she'd rather be surrounded by ghosts of her own making than the real ghouls of her childhood.  The final tableau featuring Silver, alone again and back on that worn couch, in an image reminiscent of Edvard Munch's "The Scream," is the very definition of grief.

To see a full review of this show, read Andrea Simakis' blog or visit here.