“Incredible staging by director Ellen Orenstein .… A group to keep an eye on for sure.”
-- Michael Roderick, BROADWAYWORLD.com

“Glorious moments of beauty and fantasy … beautiful and fleeting … an absolute joy … the cast is fantastic. Scherzo is refreshing theater. The mix of expressionism, dance, and realism going on in this show pulled me into their world and I really enjoyed it. I could have stayed considerably longer. I intend on checking out the next part of this series and I recommend you do too. If it’s anything like their pilot episode then it’s certainly worth it.”
-- Richard Hinojosa, NYTHEATRE.com

“Connell's adaptation, which adds text from a variety of sources to an abbreviation of Richard II, streamlines the story and themes of Shakespeare's original, honing in sharply on one main idea—the notion that absolute monarchy corrupts absolutely. His Richard takes and squanders freely because he knows he can, and the very idea that he can be contradicted—let alone deposed—is radical .... The Holy Terror does not shrink from other matters, however: we still hear Richard ponder the death of kings in the play's most famous speech (wisely uncut by Connell). But this Richard's belief in the "hollow crown" feels more hollow than usual—Connell … never lets us forget that the movers and shakers of big events who populate this play are also just people, fueled by the same drives as you and me …. Not only has [Connell] succeeded in zeroing in, with real clarity and acuity, on a very specific take on a classic story, but he's also done a bang-up job of good old-fashioned storytelling.”
-- Martin Denton, NYTHEATRE.com

INTERVIEW with PLAYWRIGHT David Alex Andrejko at BroadwayWorld.com:
CLICK HERE

"Blueprint Theater Project is boldly exploring the unique impact of site-specific work, and alternative forms of dramatic expression." 
-- Ana Valle, NEW YORK THEATER REVIEW

"Three women and three men depict a hyperbolized experience of the behavior and subconcious urges that a nightclub evokes. Through dialogue, movement, lighting changes and soliloquy we discover six individuals looking for love in all the wrong places and people, their desperation keen, driving them to reckless boldness." 
-- Ana Valle, NEW YORK THEATER REVIEW

"Blueprint Theater Project's innovative new series The Human Variations ... offers a glimpse of what theater might evolve into ... Director Ellen Orenstein adds stylized action that is a great combination of naturalism and fantasy. Even though we are not in a theater, Orenstein never lets us forget that this is theater ... The cast are right-on with their portrayals of these lost young adults living in an unforgiving and overbearing world ... This is really very cool theater ... I am very interested to see what Blueprint has in store for the next installment." 
-- Richard Hinojosa, NYTHEATRE.com

“Since at least 1970, when Stephen Sondheim had one his characters sing about Another Hundred People getting off of the train, the paradoxical desolation of the crowded urban landscape has been repeatedly contemplated in contemporary American drama. What sets The Human Variations apart is that it unfolds in an actual Manhattan art gallery rather some imagined New York City landmark: the dynamic provoked by this site-specific production is immediate and immersive.

Written by David Alex Andrejko in collaboration with the company, and directed skillfully by Ellen Orenstein, The Human Variations offers fly-on-the-wall glimpses at a group of contemporary New Yorkers—coping with, or hiding from, or denying the existence of their aloneness. The show is presented in a gallery that currently houses a photography exhibit by Abby Verbosky on the theme of ‘being alone in public spaces,’ which is precisely what this play is about. Even in conversation with one another, the disconnectedness of the characters is always palpable. Witnessing it in such organic surroundings, absent a fourth wall and other usual trappings of the stage, serves to amplify the melancholy.

The work is further distinguished by its somewhat unusual shape, which echoes that of a musical composition (the play is billed as a ‘dramatic symphony,’ an apt metaphor). There are four movements, starting with ‘Allegro,’ in which the characters make their entrances to the gallery and initial attempts at connection unfold. ‘Largo’ sees the pace slow, appropriately, and the proceedings become more introspective; this section contains several monologues in which the characters explain themselves to...themselves (we get to eavesdrop). ‘Scherzo’ brings the work to a manic climax, and then the evening concludes with ‘Rondo,’ which is mostly silent, offering us as observers time and space to reflect on what we've seen, even as the characters seem lost in a kind of reflection themselves. It's a poignant finish to a touching play.

Orenstein and choreographer Anne DeMers use physical theater techniques throughout the piece, highlighting the way that posing has become in and of itself a form of self-expression, and letting movement convey mood, character, and possibility. The eight actors—Kyla Deichl, Molly Groome, Nick Hepsoe, Cole Johnston, Sarah King, Jillian Mason, Melissa McNerney, and Zac Walker—execute the action seamlessly and skillfully, and though we never get very far beneath any particular individual's skin in this piece, the feelings presented are raw and resonant.”

-- Martin Denton, NYTHEATRE.com