Ivan and The Dogs

By Hattie Naylor

Directed by David Sullivan

Nominated for an Olivier Award in the UK, the work is receiving an excellent American premiere from Origin Theatre Company, directed concisely and inventively by David Sullivan and starring Kevin Melendez… this production treats us to a seamless fusion of performer and text, as if Mr. Melendez was born to play a boy adopted by wild dogs

It’s a remarkable, haunting play, performed with charm, nuance and charisma by Kevin Melendez as Ivan Mishukov”

Gwen Orel New York Irish Arts


By Aidan Mathews

Directed by M Burke Walker

“Few plays in recent years have dared to tackle a subject so deep and broad as the emotional commitment two people make to one another over a lifetime. Exit/Entrance, a shimmering play by Aidan Mathews takes a piercingly heartbreaking and completely honest look at one couple’s journey in one of this season’s first wonderful plays.”


“Aidan Mathews’ “Exit/Entrance,” originally produced at Dublin’s Abbey Theatre in 1990, is getting its belated American premiere thanks to Origin Theatre Company… Lara Hillier is charming and spirited as the younger Helen, radiating promise, and David L. Townsend’s younger Charles is an intriguing combination of geekiness, confidence, shyness, and despair.”


“Director M. Burke Walker has directed the actors, both young and old, with incredible nuance… There are plenty of great ideas here backed up by fantastic performances (Linda Thorson is also riveting as the older Helen).”

Music OMH


Spinning The Times

World premiere by Geraldine Aron, Lucy Caldwell, Rosalind Haslett, Rosemary Jenkinson, Belinda McKeon

Directed by M Burke Walker

““Spinning the Times” by Origin Theatre is a sort of theatrical “Project Runway”… Rosalind Haslett provides another intriguing portrait in “Gin in a Teacup””

The New York Times

Fortunately Origin Theatre Company has brought some of the cream of the crop to New York audiences, who ought to jump at the chance to take it in…a highly international evening,

Lucy Caldwell’s wrenching The Luthier a young Palestinian violin repairman evokes his horrific childhood…played convincingly by Ethan Nova, Dawood spreads his mild, peaceful nature over the theater.

The absorbing Miracle Conway by Geraldine Aron. In this artful tale, the expert Rosemary Fine brings to life an everywoman who gets a job as an assistant to a famous songwriter

Rosemary Jenkinson’s The Lemon Tree takes place in a modern-day Belfast where violent echoes of the Troubles linger, and lingers… Ms. Jenkinson has the exceptional storyteller’s talent of deriving large truths from small fictions…Her play is a compressed, polished marvel, practically a poem, with not a word out of place… it is embodied by the lanky, magnetic, and deadly-focused Jerzy Gwiazdowski, who dominates the stage seemingly effortlessly

With Rosalind Hazlett’s Gin in a Teacup we’ve arrived in the New World, where Nooshn, a young woman of Iranian extraction, waits for her sister in a bar/cafe in Red Hook, Brooklyn… It was a pleasure to see again the marvelous Aysan Çelik.

Leaves of Glass

By Philip Ridley

Directed by Ludovica Villar-Hauser

“The suicide of a father leaves a stealthy, ultimately devastating imprint on the lives of his two sons in “Leaves of Glass,” a slow-burning but effective drama by the British playwright Philip Ridley (“The Pitchfork Disney”) that features a superb cast including the Tony nominee Euan Morton.”

The New York Times, Charles Isherwood

“As the brothers, Euan Morton and Victor Villar-Hauser make for an engaging odd couple, delivering intense yet nuanced character portraits.”

The Village Voice

End of Lines

World Premiere By Gary Duggan, Pat Kinevane, Morna Regan, Ursula Rani Sarma & Abbie Spallen
Directed by Julia Gibson, Portia Kreiger, Alyse Rothman, David Sullivan & Fiana Toibin

“A collection of five new 25 minute plays written by some of Ireland’s best contemporary playwrights inspired by journey’s on the New York City Subway

Some of the most thoughtful and affecting plays you’ll see in New York this year.

Cahir O’Doherty, Irish Voice

“Characters blaze forth, giving wonderful opportunities for the performers
- Karl Levett, Backstage

Kimberly Herbert Gregory gives a powerhouse performance in Evangeline Elsewhere by Pat Kinevane.”

Joe Hurley, Irish Echo

“Ursula Rani Sarma hits bulls-eye in achieving the End of Lines challenge and delivers a meaningful and touching short play. I also like the idea of exposing New York audiences to emerging Irish writers

Les Gutman, Curtain Up Review

“Abbie Spallen’s enraged and genuinely chilling play, shaving the pickle, is a meditation on what life in New York may be like 20 years…..Spallen has managed to pack her 25 minutes with some of the most philosophically rich meditations on the US and the culture wars that are shredding the national fabric

Cahir O’Doherty, Irish Voice

The Shape of Metal

American Premiere By Thomas Kilroy

Directed by Brian Murray

“ROBERTA MAXWELL IS SO MAGNIFICENT as an aged sculptor in The Shape of Metal …her voice remains fierce as she goes into verbal battle with her angry daughter Judith, THE EQUALLY POWERFUL JULIA GIBSON…..there are terrific contributions to the production, including Lex Liang’s set design.”

The New York Times

“RICH THOUGHTFUL AND ACHINGLY HUMAN…another gem in Kilroy’s portfolio”

The Irish Sunday Times

“Kilroy’s The Shape of Metal is A FASCINATING PLAY”



The Irish Sunday Independent

“ROBERTA MAXWELL GIVES A TOUR DE FORCE PERFORMANCE, director Brain Murray also obtains excellent performances from Julia Gibson and Molly Ward”


“Brian Murray has worked with Roberta Maxwell four times their familiarity with each other no doubt contributes to the INTIMATE UNFORCED MASTERY of her performance.”


“To be successful in the theatre world sometimes all you need is one breakout role, one show stopping number…..SUPERIOR TALENT ROBERTA MAXWELL.”

The Washington Square News

“The Shape of Metal is AN ARTICULATE BUT FAMILIAR EXPLORATION OF A MONTHER AND DAUGHTER relationship…one senses the mother could have taken on Jackson Pollock in an arm wrestle and won.”





American Premiere By Paul Meade and David Parnell

Directed by Paul Meade

“A THROUGHLY ENJOYABLE EVENING! Performed with precision and polish, Trousers offers a delightful, uninterrupted 80 minutes of professional theatre! Splendid performances by Gary Gregg and Daniel Freedom Stewart… the chemistry between the two is seamless”

Jo Ann Rosen, NYTheatre.com

“TROUSERS SET ME THINKING , WHICH IS ONE OF THE MOST IMPORTANT THINGS THEATRE CAN HOPE TO DO , The two actors play their roles quite convincing and naturalistically.”

Rob Lester, Edge New York

“TROUSERS DELIVERS, particularly when performed by actors as likable as Gary Gregg and Daniel Freedom Stewart!

Joseph Hurley, Irish Echo

Clock and Whistles


New York Magazine

“THE CAST’S ENERGY AND BRISK DIRECTION OF TALYA KLEIN PROPEL THE 20 QUICK TAKE SCENES! Meghan Andrews (who was excellent as the shy young bride in the recent “Trip to Bountiful”) didn’t flinch from portraying the needy, cruel Anne. Catherine Eaton was wholly believable as Caroline, a tough-talking sculptor and neighbor of Trevor. Samuel Adamson’s tonal pitch for these stuck, disappointed people is near perfect!”

New York Times

BEST BET! If you like your plays sharp, swift and bitingly funny get tickets to Clocks and Whistles!

New York Magazine

RIVALS ANYTHING YOU’LL SEE ON BROADWAY OR OFF THIS SEASON! This import strikes chords of dissonance both haunting and raw! Acted fearlessly, Clocks and Whistles is darkly absorbing!

Edge New York

“PICK OF THE WEEK! The performers make Adamson’s casual dialogue crackle, turning this into a satisfying trip into 21st-century sexual coupling!”

Back Stage

“INSIGHTFUL, AMUSING AND SOMEWHAT DISTURBING! Samuel Adamson’s Clocks and Whistles affords us an insightful, amusing and somewhat disturbing look into the private lives of a group of young Londoners of a decade ago! All in all, a credit to George C. Heslin and Origin Theatre Company’s 2006 season!”

Irish Echo

“FUNNY AND HEARTBREAKING! A funny, heartbreaking tale of three young Londoners sorting it out artistically/sexually, informed with a lovely sense of discovery and youthful brio! “

Gay City News


“One of just five plays to receive a starred listing (highly recommended) in the New York Times, Friday Oct 14th 2005…
three stunningly written monologues with as much sex, violence and cruelty as 10 Quentin Tarantino films… [a] speeding train of a play staged with little fuss by George C Heslin… It was almost as if Mr. O’Rowe had studied Samuel Beckett’s chiseled prose and Martin McDonagh’s outrageous violence… O’Rowe presents something truly unexpected…a picture of pure innocence.”

Jason Zinoman, The New York Times, October 10 ’05

“Mark O’Rowe enjoys success in his native land (Ireland) and he has even penned a Colin Farrell movie (Intermission) but his plays have been ignored by the off Broadway establishment. Instead, it’s left to Origin Theatre Company to display this glittery, blood-streaked gem… it’s we who should be sorry that his work does not get more support in America.”

David Cote, Time Out, October 13 ‘05

“Three actresses take the stage in Crestfall… taut performances”

The New Yorker, October 24 ‘05

“Survival instincts swirl together… in Heslin’s compelling production… Fiana Toibin gives a feral portrayal of Olive… Barbara J Spence provides a veneer of chilly self-righteous remove as Allison.”

Andy Propst, Back Stage October 13 ‘05  
[In addition, Andy Probst of Back Stage selected Fiana Toibin’s performance in Crestfall, alongside some of the best broadway talent, as one of the most memorable acting performances of 2005…]

“Fiana Toibin’s simultaneously frightening and touching performance in Crestfall blended intense ferocity with innate humanity. Mining Mark O’Rowe’s abstract language for its musicality, Toibin used her physicality to beautifully underscore his cadences: a casual, wistful glance one moment, a blood-curdling stare paired with rigid steeliness the next.”

Andy Probst, Back Stage, December 29 ’05

“…Immensely talented Mr O’Rowe…Skillfully acted, intelligently and sparingly directed…”

Joseph Hurley, Irish Echo October 19 ‘05


American Premiere by Aidan Mathews

Directed by M Burke Walker

“A RIVETING PIECE OF THEATRE! Director M. Burke Walker has elicited uniformly fine performances from his ensemble cast. J. Kennedy gives a highly intense and intelligent portrayal of the inherently angry and frustrated Marcus. A play of great sensitivity”

Diana Barth, Irish Voice

“EMOTIONALLY GRIPPING! Aidan Mathews amusingly and poignantly investigates the ways in which people derive their spiritual sustenance at the cusp of the millennium. M. Burke Walker elicits sterling performances from his six-member company”

Andy Probst, American Theater Web

“ORIGIN THEATRE IS TO BE COMMENDED FOR IT’S RISK- TAKING IN THIS FINE PRODUCTION. J Kennedy is witty and compelling; Ean Sheehy is an extraordinary aspect of this fine play”

Joe Hurley, Irish Echo

“A VIBRANT PORTRAIT OF THE CHALLENGES, REWARDS, AND OCCASIONAL DETRIMENTS OF UNCONDITIONAL LOVE! ‘Communion’ is beautifully brought to life by M. Burke Walker’s sensitive direction and an acting company providing a host of compelling performances. Ean Sheehy and Barbara Sims are especially convincing in their roles, particularly when performing together. Remaining dry-eyed through their final minutes together might rank as one of the season’s most daunting theatrical challenges”

Matthew Murray, Talkin’ Broadway

“THE CAST FLOURISHES under M. Burke Walker’s careful direction, erudite writing, tackling of big themes”

Karl Levett, Backstage New York

“A DARK AND CEREBRAL COMEDY OF MANNERS! Irish playwright Aidan Mathews engages the subject of illness and dying with a refreshing candor and lack of sentiment. Ably directed by M. Burke Walker, ‘Communion’ is the kind of work that is fun to pick apart afterward, with its latent symmetries and ironies as well as its musings on faith and God. But there are enough comic and heart-pricking scenes to save the play from feeling like a philosophy lesson.”

- Deirdre McFadyen, OffOffOnline


Budget Broadway


American Premiere Off Broadway By Enda Walsh

Directed by David DeBeck

Origin Theatre Company set a new standard in production quality and demonstrate their genuine commitment to bringing new works to the stage.

Irish Voice

A powerful performance knocking the audience right of their seats with every outrage and then smoothes them over with a chilling calm

Show Business Weekly

David De Becks direction makes the trip through Thomas mind an intriguing journey. The lighting and sound design by Sean Farrell and Zachary are extremely effective.

Backstage New York

A well paced absorbing production, with grace style and insight

Irish Echo

Zachary Williamson expertly layer sound design and Sean Farrell’s evocative lighting guided by De Becks skillful direction

Irish Theatre Magazine