"Chris Wight as Dog gives a subdued performance that is heartbreakingly earnest...exceedingly well executed on all fronts, this is a play that feels both contemporary and timeless, one I imagine will take its well-deserved place in the canon."
-
-Will Fulton, nytheatre.com
“We open in a postapocalyptic Earth, where a couple of ‘vaudevillieans,’ Rozetta Stone (Lori E. Parquet) and Dog (Chris Wight), practice their act and try to avoid Droogish slavers...a notch above...rough, poetic dialogue; a handful of simple, honest themes--possibilities for kindness in a savage world, guilt as a luxury and a form of selfishness-in lieu of sprawling world-building; and, most crucially, the savage talents of the Flux Theater Ensemble." - Scott Brown, New York Magazine
“The multi-talented Chris Wight gave a soulful rendering of Dog, playing the banjo and harmonica as well as juggling, singing, and dancing. He managed to convey an artful combination of happy Labrador retriever and deeply wounded human being.”
- Jen Gunnels, The New York Review of Science Fiction
"In Ms. Adams' decimated world, Vaudeville troupes are the battered but proud storytellers, representatives of a lost culture whose traditions, from Shakespeare to spirituals, have been scrambled, as if passed through a children's game of telephone. Rozetta Stone (Lori E. Parquet) and Dog (Chris Wight) are the tattered remnants of one troupe, pulling their terrifically junky cart along in hopes of better days. Dog is hiding a troubled past, in part by undergoing a voluntary species demotion from man to canine...Zetta is determinedly ebullient, “unfettered,” as Dog puts it, “by any fanatical reverence for facts.”...the production works overtime to entertain...the show does go on...hilarity and drama ensue." – Claudia La Rocco, The New York Times
“A wonderful cast...fascinating and frightening...as a reviewer, I sometimes feel jaded...then I see something like Dog Act (although there really isn't anything like Dog Act) and I am reminded of theatre's power and beauty." – Wendy Caster, Show Showdown
“Parquet and Wight share a terrific chemistry, the sort that can sum up a history in a few sidelong glances...an entertaining reminder that all the world's a stage..." – Aaron Riccio, That Sounds Cool
Wight’s Dog provides the deeper, more mournful tones which bring you to the dark spots of this land’s history and culture. His story is aching and bittersweet – a good man with a bad past...a fully realized, perfectly created piece of theatre.”
- Karen Tortora-Lee, The Happiest Medium
“Dog Act requires an ambitious company of players to take on Adams’s frenetic and intense word-play. Fortunately the cast [was] up to the task....It is a show well worth your time. See it now before these Vaudevillians pull up their stakes and move on."
- Bonnie Prince Billy, Cultural Capitol
“Wight plays Dog alternatively as an energetic Snoopy-like sidekick and a sympathetic puppy. Together they romp around the stage, encouraging one another with song and dance...with stories, songs and dance they captivate, entertain and fight for their very survival...This is a play that revels in theatre and storytelling, viscerally imparting a message about its ritual power to build community and restore humanity through primal arts.” - Joshua Bambino, Theatre Is Easy
SPIRIT SEX: A PARANORMAL ROMANCE by Desi Moreno-Penson
“Frequently reminds you of the deep pool of acting talent New York playwrights can draw on.”
- Rachel Saltz, The New York Times
“This X-Files meets Fringe tale about a man who's both spooked and aroused by the ghost of a female satyr (Fulvia Vergel, playing part human, part goat) is the most bizarre of this lineup, but there is good comedic chemistry between Martin (Jeb Kreager), the ghost whisperer, and Avy (Chris Wight), the ghostbuster.”
- Cindy Pierre, Off Broadway Theater Review
“...considerable laughter, as the actors did an amusing turn...”
-
-Paul Hufker, nytheatre.com
FATHER’S DAY by John Augustine
“Good efforts by the actors Catherine Curtin and Chris Wight."
-
-Anne Midgette, The New York Times
"The final play, John Augustine's Father's Day, is a dark comedy that depicts three peoples' reaction to the death of a friend...Father's Day brings out all the selfishness, guilt, compassion and awkwardness in American death rites with great skill."
-
-Paulanne Simmons, CurtainUp
“The entire cast shines...in this bittersweet sketch of mismatched people packing up a mutual friend’s apartment after his death. The play conjures New York, its cramped living spaces, eclectic people, and brash attitude without sinking into the cliché - a rare and accomplished feat.”
-
-Hailey Eber, Curtain Rising Magazine
LIVES OF THE SAINTS by David Ives
“And then there are the sound-effects-men: Sean Sutherland and Chris Wight...manipulating instruments they might have found in a dumpster, with the solemn faces of prelates at the altar...the sound men here have the synchronized precision of musicians...the moment that brings down the house has one woman spritzing frosting into swirls on a cake and the other springing Jell-O molds to swooshes and clicks from Mr. Sutherland and Mr. Wight that echo the melody of “Beer Barrel Polka” in three-quarter time...”
-
-D.J.R. Bruckner, The New York Times
DISTRICT OF COLUMBIA by Michael Louis Wells
“What flourishes here is talk...the hopeful drifters in the old house...become a likable lot...the whole cast seems to greatly enjoy this production.”
-
-D.J.R. Bruckner, The New York Times
THE FLID SHOW by Richard Willett
“The production itself is lovely, with beautiful lighting and scrim work. Director Eliza Beckwith’s direction is simple and elegant…the ensemble of actors is very strong…a unique story, well-performed and well-told.”
- Jenny Sandman, CurtainUp
