I was also impressed by young director Lyndsay Burch, who brings savvy maturity to this tale about life’s ups and downs. This two-character play is one of the most interesting and absorbing productions at the B Street Theatre in recent years, and I really recommend it.
Director Lyndsay Burch has the action flow around the set, and even though the ideas feel repetitive at times, the momentum usually carries us through. Both intimate and epic, the play works as a creative time capsule of our age – with an old-fashioned love story at its post-modern heart.
Best Overall Production in 2016
Lyndsay Burch has directed with a wonderfully gentle touch, and Samantha Reno and Steven Schmidt’s elegant set design feels like a sensual exploratorium not entirely of this world.
Hunt’s sensitive, charged performance shows us the change while Lyndsay Burch’s nuanced direction pushes past some late sluggishness in the script.
An outstanding work of Sacramento theatre in 2015.
Burch also deftly maneuvers on the “steampunk” to “cyberpunk” axis of the tale that George has imagined.
Watching this show’s three actors bounce between the centuries is fun, and young director Lyndsay Burch does a smart job keeping the audience onboard and the humor percolating.
The young director Lyndsay Burch sets a smooth, easy tone and smartly lets her expert actors handle the heavy lifting.
B Street actors Kurt Johnson and Melinda Parrett work up good chemistry, and young director Lyndsay Burch deserves a feather in her cap for creating a sense of direction and spontaneity in a story that’s rather lightweight and predictable.
In the hands of Parrett and Johnson, under the direction of Burch, the verbal sparring of the two characters is a delight to behold.
Director Lyndsay Burch deftly keeps the action rolling along, Armando Luis Rivera as Alexander leads the talented cast with his plucky charm, and set designer Samantha Reno wonderfully recreates all the indoor and outdoor aspects of Alexander’s terrible, horrible, no good, very bad day.
Director Lyndsay Burch uses actor placement to impart certain sentiments on the small B3 stage. Putting Johnson under or near a hanging interrogation-room light makes him look dead-eyed - even as Denny recalls supposedly happy moments.
Lyndsay Burch’s direction is swift and sure, and Ron Madonia’s punchy lighting design effectively illuminates playwright Keith Huff’s script...this is one tight production.