“…insanely reliable.” – Willamette Week
The (Curious Case of the) Watson Intelligence
“CoHo’s triple play about a trio of Watsons and the difficulties of communication and artificial intelligence rings some unusual bells…” – Oregon ArtsWatch
“Onstage at the CoHo Theater, Madeleine George’s play has come to life in a tender and uproarious production. It’s a spirited meditation on technology’s corrosive effect on humanity in which director Philip Cuomo and the cast of three nimbly dance through the disparate time periods.” – Willamette Week
Year of the Rooster
“Year of the Rooster is frightfully funny, although always lurking below the laughter is the uneasy sense that we’re laughing at an end game, looking at lives that have already been checkmated except the players haven’t realized it yet and keep on feverishly moving the pieces as if victory were just around the corner. The cast is impeccably wild, as is the production itself…” – Oregon ArtsWatch
This Girl Laughs, This Girl Cries, This Girl Does Nothing
“Because this tale is broad and universal, just like a life (or three), and can be melded and shaped and shifted in magical ways. And what CoHo has done with Kruckemeyer’s beautiful words is capture lightning in a bottle.” – Oregon ArtsWatch
“CoHo’s production of This Girl Laughs, This Girl Cries, This Girl Does Nothing is complex, funny, tender, and fantastical…You’re not too old for this show. Or too young.” – The Oregonian/OregonLive
Philip’s Glass Menagerie
“The story—about two siblings languishing under the thumb of a monstrous Southern matriarch—may be familiar. But with minimal dialogue and maximum silliness, director Philip Cuomo’s riff on The Glass Menagerie uses an unlikely and delightful blend of clowning and Philip Glass music to create a tour de force of good-natured nonsense. The entire cast is a joy to watch, but the flighty Laura, Sascha Blocker steals the show by mining comedic gold from the likes of bubble blowing and plastic-unicorn hugging.” – Willamette Week
“The show combines several elements that don’t on the surface seem to go together: Tennessee Williams, clowning, and drag. But, somehow, these strange bedfellows work in concert beautifully.” – Broadway World Portland
“Gilman’s story of a brutal custody battle in Cedar Rapids, Iowa, may not be soothing, but in the hands of director Brandon Woolley and his ferociously committed cast, it is spellbinding.” – Oregon ArtsWatch
“The show flows effortlessly, taking its subject matter seriously, but never so seriously it feels bleak. It’s a show that has to hold contradictions. One of the ways (director Brandon Woolley) pulls this off is by bringing Gilman’s humor to the forefront. It’s a surprisingly funny show; there are a lot of big personalities bouncing off each other.” – OregonLive/The Oregonian