DOOMOCRACY:
"When you emerge from “Doomocracy” you’ve felt the visceral thrill, the thrill that good theater delivers, the sense of having been through something energizing and focusing. You may also feel a reassuring sense that, no, it’s not just you; American reality, in 2016, is every bit as out of control as you think it is." - Holland Cotter, NYT
“Well-written, expertly acted and not very politically correct.” - Christian Viveros-Fauné, artnet News
“Witty and thought-provoking, with interactive audience-participation elements that are, for once, fun to partake in.” - Alexandria Symond, T Magazine
‘Doomocracy’ is the election-theme haunted house we need” - Lauren Evans, The Village Voice
"Arguably one of the most hotly-anticipated art events of the year." - ArtFCity
"In a phrase, 'Doomocracy' is every liberal voter’s nightmares come to life." - Artnet News
“Disorienting, disturbing, and totally hilarious.” - The Huffington Post
“Sharp, smart, funny as hell.” - Scott Indrisek, Modern Painters
The Offending Gesture:
“THE OFFENDING GESTURE at the Connelly Theater... is particularly enjoyable... Meghan Finn, the director, has gotten the most out of this one, aided by haunting music composed by Alaina Ferris.”
— The New York Times (CRITICS' PICK)
“Seasoned Wellman watchers will luxuriate in the coded language games and philosophical puzzles in Meghan Finn’s very funny and well-acted production;
newcomers should be dazzled.”
— David Cote, TimeOut NY (CRITIC'S PICK)
DAREDEVIL:
"...{D}irected with care and enthusiasm by Meghan Finn..." The New York Times
"...Winter’s off-kilter dialogue and Meghan Finn’s funhouse direction stir philosophical musings on grand questions of existence with a light touch." - TIMEOUT NY
Take Me Home:
"But what is happening to the audience is an utter blurring of the lines between stage and reality, because you don’t know who is an actor -- and who is not. You find yourself staring at random people on the street, wide-eyed, waiting for some acknowledgement or cue from them that yes, they are part of the story. Sometimes they are."
National Public Radio's Marketplace
'“However the audience behaves, the show works,” said Meghan Finn, the play’s 33-year-old director. “The built-in formality of a cab ride gives us a slingshot into intimacy.”
Wall Street Journal
"Part of the deliciousness of the concept is that you become unsure what is staged and what is just New York. Is that running man someone in the tale Ace is telling you, or is he just a guy trying to catch a bus? Is the delivery truck blocking your way on a narrow downtown street part of the choreography?"
The New York Times
"'Take Me Home” hits the road three times a night, and Ms. Finn said she has made it a priority to get Mr. Jimenez and his fare back in 40 minutes or less.
“If you’re in the cab any longer than that,” she said, “you start to think, ‘I really should be in New Jersey by now.' ”
The New York Times
"Immersive theater experience ...Guaranteed to be a wild ride!"
NY1 News
The Downtown Loop:
"It’s the sort of state-of-the-art multimedia hybrid that 3LD has become known for since opening its doors in the financial district in 2006. But it’s not mere high-tech foolery, explained Meghan Finn, the show’s director. It’s about the way 'the hustle that defines New York City both builds it and destroys it,' she said."
The New York Times
"The set dazzles in Ben Gassman's The Downtown Loop...Mr. Carere displays marathon stamina as the main character, whose oratory encompasses historical fact, poetic fancy and alternately resentful and affectionate opinions of the city."
The New York Times
“I have to admit, before doing this show I’d never taken a double decker bus tour of the City, and it’s a completely bizarre way to view the streets you walk down every day. It has a very National Geographic kind of feel, like you’re watching the City species in their natural habitat or something.”
The Brooklyn Rail
"I was in show choir in high school in Michigan and did musicals like everyone else, and just sort of made my way over to the plain stuff..."
People You Should Know
"The ride is thoroughly entertaining and truly transportive in every sense of the word."
Flavorpill
"Tourists and locals alike would be well advised to skip the double decker bus departing from midtown and hop on the virtual ride conjured up by this group of inventive artists. Much like the city itself, the show is one part humor, two parts heartbreak, and unflichingly honest."
Theatre is Easy
"I definitely enjoyed this show...for its blunt assessment of existence and impressive technical features. Also, there are free hotdogs."
NY Theatre Now
"State of the art technology...The performance begins and the bus starts to move, or at least it feels that way as the projections whiz by you."
Maxamoo
"The Downtown Loop should be experienced at least once to see innovative ways the theater is evolving."
Ushernonsense.com
A Murder of Crows:
"'A Murder of Crows' on Brooklyn campus: 6 reasons to see it...In keeping with the mystical tone Finn has set, these crows symbolize life’s magic, the mystery of creation, and there is an obscure optimism in the fact that they exist everyday amid this palpable wasteland."
The Examiner
The Service Road:
"The director, Meghan Finn, deftly strikes a balance between ingenious technology and Ms. Courtney’s intimate script, marshaling the two into a resonant and captivating whole. The play’s internal order, however surreal, feels entirely complete."
The New York Times
NYTimes CRITICS' PICK
"This is also a kind of chase play, its cascading entrances and exits deftly orchestrated by shooting-star Finn...The staging is magic. Finn and co. immerse us in an inter-medial nature trip to forgiveness."
Culturebytes
"The Service Road...plunges you into a modern-day fairy tale. It's a brief work, running just sixty minutes, but it packs a significant punch, thanks to director Meghan Finn's beautiful, expressionist-inspired staging."
Theatermania
"The production is a luscious treat for your eyes and ears, a recreation of the magical lifeworld of childhood."
Cultural Capitol
"...{A} beautiful art piece .... Performance/modern art and multimedia buffs will love this production..."
Brooklyn Exposed
Motel Cherry:
"Stafford's clever writing is well-supported by an incredibly talented cast, without a weak link...Of course, this success is also the result of Meghan Finn's excellent direction. Not only does she achieve excellent performances from each actor, but she also utilizes Daniel Zimmerman's set in a creative way."
Huffington Post
Best of 2012 Huffington Post
"Meghan Finn has directed the production with a swift hand and you can see her work throughout as the piece moves fluidly in and out of motel rooms, constantly changing perspective...if you want a see a definition of exemplary ensemble work, I would not miss this one." nytheatre.com
3 2's; or AFAR:
"Mac Wellman’s “3 2’s; or AFAR” offers the playwright’s typically dizzying and fluid unfurling of language. References, registers and nonsense rhymes fly with madcap precision...everything in “3 2’s; or AFAR” eludes, and deliciously so."
The New York Times
“Director Meghan Finn has put together a first-rate production…”
TheaterMania
"The production values are stunning...Meghan Finn skillfully directs a game cast..."
TimeOut New York
“3 2's; or AFAR takes the creepy haunted theatre tale to a whole new level…the actors and director have all done justice to this 3D game of chess...”
New York Theatre Review
"…[B]eautifully staged by director Meghan Finn; all the visual elements are striking, the performances are intense and committed."
NYTheatre.com
"MAC WELLMAN Explains, Or Doesn’t Explain, What Is Near And What Is Far"
The Brooklyn Rail
Saturn Nights:
"The acting in the play is superb and the dialogue gives attention to the small details that playwrights often overlook, offering audiences the chance to open their vision to odd complexities they’d normally not recognize." Minor Progression.com
The Fake History of George the Last:
"The cast, under Meghan Finn's direction, works very well together. Priscilla Flores is instantly fun and likeable as Grandpa George, with a big gray wig and big gray mustache. Sarah Painter and Erika Helen Smith, as the older and younger Jane, respectively, match each other's mannerisms and intonations precisely and bring a cartoonish energy to the production."
NYTheatre.com
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Bring a Weasel:
"Felipe Alfau Doesn't Want You to See This "Ideally, it will work as Alfau’s novel does: just as the reader grasps a character or a relationship there is a shift that occurs to always keep them guessing. This will be the experience for our audiences. They’ll just have to go along for the ride.” Meghan Finn
The Brooklyn Rail
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