- Theofandis Premiere Centerpiece of Excellent Miró Quartet Program
Les Violons du Roy
- "Before Bach": A Best Case Performance of Purcell's Dido
- Pianist Daniil Trifonov rocks Soka with Liszt
Orange County Register
- Review: JS Bach Solo Sonatas and Partitas
BBC Music Magazine
- Hearing visual art through Theofanidis' 'FIVE'
Les Violons du Roy
- Purcell's Elaborate Scores, Elegantly Executed at Carnegie Hall
New York Times
- Review: Miro String Quartet
Performing Arts Monterey Bay
- Review: Miro Quartet, Bates Recital Hall
The Austin Chronicle
- Joshua Weilerstein leads refreshing DSO concert
Dallas Morning Times
- 'Work harder than everyone else': Storm Large's route to success
The Irish Times
How Theater Failed America (review)
Time Out New York
A portly, blustering performing with a featherweight voice, Daisey is a working man's Spalding Gray: boyish passion meshed with refined contemplation. The most satisfying moments in the show are his recollections of the days when he did theater on the cheap. He reminisces about a summer of rats and ramen noodles when he launched a reperatory company with a college pal at a Maine Elks Lodge; recalls how directing 60 misfit high-school students in a commedia dell'arte performance pulled him out of a suicidal stupor; and revisits the unnerving time he masturbated onstage in Seattle.
In Daisey's rants, the fun comes as much from the presentation as from the point, even when he's mapping familiar territory about overworked directors and underrehearsed plays or describing how he and his director wife, Jean-Michele Gregory, are the "carrion birds of the American theater," because their low-budget solo shows frequently replace more costly productions. One artistic director dubbed Daisey's harangue "How Theater Became America"; appropriately in an important election year, it is not only vastly entertaining, it's also a call to action.