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"All three actors deliver compelling performances, and the nature of the story—it's essentially a suspense thriller, a sort of religious whodunit—ensures that it is always gripping. Jeremy Cole's staging is simple and fast-paced, and interest never flags."
- Martin Denton, nytheatre.com
"Jeremy Cole directs the show excellently, pulling the emotion out of the piece and using beautiful original music (by Jon Sousa and Yossi Green) judiciously."
- Scott Mitchell, MusicOMH.com
"Cole makes good use of the limited set and coaxes compelling performances from all three. A seductive scene between Isabel and Andres is very artfully staged."
- Lauren Yarger, Reflections in the Light
"Acclaimed director Jeremy Cole peppers the production with surprising elements that at first are out of place but eventually culminate into a cohesive and imaginative piece... The play explores hedonistic vices and caters to our basest human desires. It stimulates the physical senses with the visions of the director and designers as well as clean performances from the cast. Marlowe's original script also stimulates intellectual drive. Together, they make for an engaging evening that haunts long after Doctor Faustus is swept off stage by an army of devils."
- Sara Hayden, The Daily Californian
"Actors Ensemble of Berkeley’s staging a lively production of Christopher Marlowe’s Elizabethan masterpiece, Doctor Faustus, in a cranked up, vaudevillized version, directed by Jeremy Cole... Seldom has selling one’s soul to the devil for magical knowledge and adventure been rendered onstage with such a spirit of fun."
- Ken Bullock, The Berkeley Daily Planet
"It seems as though director Jeremy Cole considers
both fate and choice in his fast-paced production of
Macbeth by way of the Weird Sisters. The witches, played by
Martha Stookey, Carrie Smith, and Molly Holcomb, are
Shakespeare's representation of the past, present, and
future, not necessarily in that order. They are Destiny;
they are the Fates. On this stage, the witches are not only
omnipotent and omniscient; they are also omnipresent,
onstage even when "off." This omnipresence
leads one to question whether the Sisters are truly
omniscient, or if they are just calling it like they see
it, and providing Macbeth with choices. What do I mean by
this? The Weird Sisters do their usual cackle, brew, and
conjure, and well, at that; but they also take on other
roles without completely stepping out of their original,
witchy characters. For instance, the play begins; the
witches meet; fair is foul and foul is fair, and with a
wave of her red cape, witch three becomes a bleeding
Captain, telling of Macbeth's heroic exploits on the
battlefield. No costume change, no scene change, just a
turn and a flow into character. More vividly, Stookey,
plays the head-witch, and takes on the role of the Scottish
thane, Lennox. Stookey delivers her lines as Lennox with
all the look and intonation of her omniscient doppelganger,
leaving the audience to question who is whom, and who knows
what. My only problem with this tactic is that it can be
confusing for someone who is relatively unfamiliar with the
play. I can imagine that some of my audience members were
trying to figure out why one of the witches was hanging out
at court, but it is also the most brilliant part of
Cole's production, and luckily it weaves in and out of
the play from beginning to end."
- Denise Battista, PlayShakespeare.com
"Subterranean Shakespeare's sharp production of Macbeth at the Berkeley Arts Center in Live Oak Park, with Jeremy Cole's fast-paced and nimble, intimate staging, brings the drama to the fore, the story into focus, dissolving the hoary encrustations without losing the genuine strangeness of the tale, its eerie reverberations of willfulness and destiny, character and autosuggestive magic.
...The real power of this seeming potboiler that exposes
a brave man's ambition as murder, a loving marriage as
the breeding ground of resentment and the pinnacle of
success as weary cynicism, is made more direct with
syncopated, overlapping scenes, crowded moments succeeded
by solitary soul-baring and the fluid motion of the cast in
eye-to-eye proximity to the audience—a power that is
palpable, that connects with a spectator's fleeting
thoughts and emotions, rather than a vague sense of
menace."
- Ken Bullock, The Berkeley Daily Planet
"Director Jeremy Cole promises his audience an
intimate encounter with Shakespeare, and he delivers in
more ways than one. Sub Shake's Richard III is
staged at the Berkeley Art Center, a space that provides an
excellent set for entrances and exits with its perfectly
placed partitions hiding a welcoming violinist who
accompanies the performance."
- Denise Battista, The Shakespeare Revue
"Director Jeremy Cole's brazen interpretation
is uproariously funny in ways creator Mary Zimmerman never
would have considered appropriate... Cole smartly plays
Ovid's most powerful moments with respect... Cole has
not only assembled one of the finest young ensembles in
memory, he has handed them that rarest of gifts - material
worth of their abilities. Cole's production is a
triumphant amalgam of light, props and sound, creating
striking visual moments of dramatic clarity: Myrrha
dissolving in a shower of her own tears; Hunger portrayed
as a puppet clinging to the neck of Erysichthon; floating
candles symbolizing a banquet feast; even the god of Sleep
wearing SpongeBob SquarePants boxer shorts. If catharsis is
the thing theater is supposed to be about, then
Metamorphoses is what theatre is supposed to
be."
- John Moore, The Denver Post
The Hunger Artists production also reminds audiences that Breckenridge's gain was Denver's loss. Jeremy Cole, now the artistic director for Backstage Theatre just off the ski slopes, came back to Denver to direct a production that bests many of the area's so-called "semi-professional" outlets.
He takes the LIDA Project Theatre, a large warehouse that has stymied many lesser directors, and reduces its space to a size that intensifies the drama of this tale of gay men in the Holocaust.
Sherman's play provides multiple opportunities for
nervous laughter or melodrama, but Cole and his cast are so
sure-footed they consistently hit their
targets."
- Lisa Bornstein, The Rocky Mountain News
"...at the end of the Hunger Artists' gut-eviscerating new production of Bent, all that can be heard is silence, followed by a groundswell of weeping, from the right and left ... when a play ends with weeping in stereo, you have to give it up to those involved and say, "Bravo." Nothing I've seen of late has so affected its audience, and for my money, that makes Bent the best play of the year. That this blindside comes from the Hunger Artists, who have been largely dormant the past year, only magnifies the feat.
...director Jeremy Cole has remarkable control over the
tone of his piece (and ditching the accents was
brilliant)."
- John Moore, The Denver Post
"I didn't want to see Bent. I've
seen it before, and I knew what it was about. I didn't
want to explore that thing again, that image of ragged
clothes, discarded shoes, hanks of hair, rotting flesh,
that great stinking black mound of history towering over
and defining the twentieth century. Particularly in a
political atmosphere as charged and threatening as the one
in which we're currently living, with the threat of
unending wars overseas and the undercurrents of racism,
homophobia and repression at home. [but] Jeremy Cole's
is a thoughtful, heartfelt production, devastating at
moments."
- Juliet Wittman, Westword
Cole masterfully directs this massive undertaking. Long
passages of Cherokee dialogue are fluidly rendered, and
dance permeates Morning Star's scenes. Each moment
reflects an eye for composition, making great use of the
large mainstage theater at Denver Civic
Theatre."
- Lisa Bornstein, The Rocky Mountain News
"Beautifully directed by Jeremy Cole, the powerful
material is well-served by Hunger Artists Ensemble
Theatre's riveting regional premiere at the Denver
Civic Theatre."
- Dianne Zuckerman, The Denver Post
"Kevin Stephens and director Cole provide a spare,
platform-and-burlap setting in which noble emotions find a
place alongside their ignoble cousins; lighting designers
Steven J. Deidel and Anna R. Kaltenbach bathe the stage
with an evocative array of color and shadow; and the
costumes are effectively coordinated by a team of four
company members. Above all, though, Cole and company
triumph where it matters most: uncovering each play's
unique flavor, each person's particular humanity and
each time period's overriding sweep -- all while
remaining true to a story that, in the end, says more about
our national character than any of us might care to
admit."
- Jim Lillie, Westword
Eye of God asks hard questions about love,
religion and family. Then it answers them with a confidence
that leaves you on the edge of your seat."
- Mike Pearson, The Rocky Mountain News
Cole and company's minimalist version enhances and personalizes the suggestive power of Joyce's incomparable imagery -- augmented throughout by several of the director's well-chosen musical selections -- in a splendid style that would be the envy of many a multi-media-minded auteur.
Cole elicits several understated portrayals from his solid cast of actors. Far from being hampered by the constraints of the small stage or hemmed in by the conventions of reader's theater itself (each actor reads from a black-bound script and rarely strays far from his or her chair), most of the performers seem liberated as they employ subtle glances, smallish gestures and slight vocal inflections to convey Joyce's soaring lyricism.
Cole's sensitive approach serves as a fitting
tribute to both the author's enjoyable yarn -- Joyce
was fond of referring to the sketches in Dubliners
as "epiphanies," for their insights into life --
and the ensemble's accomplished interpretation. Indeed,
as the play concludes, our souls swoon with Gabriel's
as he stares out an imaginary window and observes, with
Ibsenesque aplomb, the "snow falling faintly through
the universe and faintly falling, like the descent of their
last end, upon all the living and the dead."
- Jim Lillie, Westword
"Jeremy Cole's adaption is a skillful one. The actors each take on one or two specific characters; they speak the passages describing or concerning these people in their regular American accents, switching to Irish dialect for lines of direct dialogue. Each characterization is fully realized, but the actors also slip from one character to another with the ease of someone shrugging on a shawl. You get the sense that these performers genuinely venerate the text and that each is willing to subsume him or herself to its demands. And -- in a familiar paradox -- the text gives back fourfold: With Joyce's words in their mouths, these actors transcend themselves.
...Cole's direction here achieves perfect pitch.
Though Joyce describes Gabriel touching Gretta and putting
his arm around her, the actors don't do these things.
They just stand facing each other, and their restraint
functions like silence in music or white space in art;
there's something extraordinarily moving about
it."
- Juliet Wittman, Westword
"Hatred is a shape shifter in Naomi Wallace's In the Heart of America playing through Dec. 19 at the Oedipus Complex. One minute it's the wholesale vilification of an entire people, the next, it's sister hating brother. Hatred is both global and intimate.
One of the most challenging scripts now showing in Denver, In the Heart of America conflates time and space, crumples death and love in one large wad, and collects states of consciousness like charms.
Tender (a breathtaking moment where Augustus Truhn as
Remzi teaches Josh Hartwell's Craver to eat a fig with
"purpose and a sense of pride") and brutal (Lue
Ming's rape scene), Heart is a study of bigotry,
evil and how love and hatred can coexist. Directed by
Jeremy Cole, this is an active enterprise that demands not
just rapt attention, but a dynamic relationship between the
viewer and what is viewed. We hold love and hatred in our
hands like running water. And we make meaning out of souls
so lost they find no respite even in hell. "
- Leslie Petrovski, Denver.Sidewalk.Com
"Under the direction of Jeremy Cole, Hubbard's
A Ritual for Returning, now being produced by the
Backstage Theatre in Breckenridge, comes alive as a bright,
brisk dreamscape on wheels."
- Bob Bowes, Colorado Drama
"...the play is superbly directed by Jeremy Cole, artfully designed by Cole and Doug Peterson, and well-acted by an ensemble of veteran performers.
To his credit, Cole wisely keeps the action moving at a breakneck clip, effectively mitigating the undertow of a few of the playwright's more static scenes. As played against Peterson's Romper Room-like set, Cole's inventive approach to Hubbard's script underscores Kendra's overriding wish to view the world with a preschooler's innate gift for make-believe...
Dramaturgical problems aside, Cole manages to elicit several outstanding portrayals from his cast. Leading the company is Carr, with an ebullient portrait of the mantra-muttering Kendra. Cohen imbues his delightful collection of vagrants and wackos with lurching commentaries on what passes for normalcy these days, while Katt's long-suffering husband is a model for hordes of contemporary Sisyphuses who daily burn the proverbial candle at both ends.
Coupled with Cole's directing skills and
Peterson's design contributions, such high-quality
acting is a healthy sign that Hubbard is only a step or two
from fashioning a play as mature in its character
development as this early effort is precocious in its
outlook."
- Jim Lillie, Westword
"Jeremy Cole has directed Albee's The Lady
from Dubuque with the cold clear eye of a surgeon and
inspiring compassion. It is the best work I have seen him
do, and it is thrilling that the play warrants
it."
- David Marlowe, Out Front
"Directed by Jeremy Cole, The Lady from
Dubuque showcases some white-hot performances,
especially Lisa Mumpton as Jo, who is not about to go
gently into this good night, and the wonderful Joan
Staniunas as Carol, the unsophisticate who
sees."
- Kyle Parrett, Denver Sidewalk
"The Hunger Artists production, smoothly directed
by Jeremy Cole, benefits from an interesting cast and
strong staging as it deals with impending death, marital
discord, alienation and loss."
- Sandra Brooks-Dillard, The Denver Post
"Director Jeremy Cole has a meticulous eye for detail and a painter's sense of design; looking at any of his shows is a visual treat. Throughout the evening, Cole artfully "Freeze-frames" certain characters so Johnny can comment on them for the audience. At other times he trots out the whole cast and arranges them in luscious poses against the back wall of the stage.
Taylor has written his play as a musical drama, and Cole
has his singers artfully re-create period music, often with
a touch of parody. When Marlene Dietrich emerges to sing
the fabulous "Falling in Love Again" from the
1930 film The Blue Angel, Cole underscores the
sexism of the day by having Johnny's frumpy wife and
his young mistress mimic Marlene's sexed-up motions
like a pair of back-up singers. It's very amusing and
also very subversive."
- M.S. Mason, Westword
"Good is a subtle and insidious drama told from the point of view of a German intellectual who slowly enmeshed himself in the Nazi regime. It builds to a chilling final image.
Directed with precision and forethought by Jeremy Cole,
"Good" makes an even greater impact through
moments of unexpected humor and fantasy."
- Sandra Brooks-Dillard, The Denver Post
"Jeremy Cole, one of our most talented local
directors, fluently blends a gifted cast led by Curt
Pesicka as Professor Halder. Pesika masters the soggy
reasoning that allows nations to blind themselves to the
terror they inflict on others. This play is not obviously
just about one particular holocaust, lest we forget the
world's deaf ear to Tibet, Somalia, the Amazon, Bosnia,
or your backyard. You name it."
- Bob Bows, ColoradoDrama.com
"A small black stage. A few white props. Three
people. And it's theater with a capital T. Since its
1991 New York premiere, The Baltimore Waltz has
earned kudos everywhere. It's easy to see why from the
sensitive, imaginative production directed by Jeremy
Cole."
- Dianne Zuckerman, The Boulder Daily Camera
"Director Jeremy Cole has pulled every trick in the
book to give a stiff Waltz some clever dips and
turns. His timing is excellent. Stage business is inventive
and funny. The single hospital bed is used artfully as the
central prop, symbol and scenery -- a place of comfort,
pleasure or horror as needed. Cole's sleek, smart
design for the show -- all black and white -- contributes
elegance and sophistication to the
production.”
- M.S. Mason, Westword
"What lifts this production above that level [of
'just another consciousness-raising AIDS metaphor']
are Jeremy Cole's strong, imaginative direction and the
confident performances of Phillip Luna and Rebekah Buric --
it is to the credit of all three that this drama never
falls into the sensationalist trap that it so easily
could... ...Cole very effectively uses the whole
environmental space: the central room in which Torch's
grimy mattress is placed within grim, graffiti-covered
walls, a stairway, a second space with a cutout service
window-like area and even the fully functional toilet and
sink down the hall."
- Sandra Dillard-Rosen, The Denver Post
"Rebekah Buric and Phillip Luna as Blue and Torch
perform alone and undressed and unafraid on stage. The
sexual struggles of the two are explicit. Jeremy Cole is
their amazing director."
- Jackie Campbell, The Rocky Mountain News
"Weiss pared back the words of both the victims and the perpetrators to the essential horror, and director Jeremy Cole's spartan approach likewise eschews all excess: a bare black stage, with all the actors barefoot and dressed in identical white costumes (vaguely resembling hospital uniforms), and all ten on stage throughout the action. Cole, however, spares us nothing emotionally. His ingenious staging, particularly the way he balances each actor's performance style against the others in the purest ensemble style, is calculated not to overwhelm but to elicit empathy and to give us time to think.
And Cole goes further: He has cast his horrendous tale
gender-blind -- women sometimes take men's roles and
men sometimes take women's. The effect is devastating,
because the usual stereotypes about male aggression and
female victimization undergo a strange transformation:
Vulnerability is pan-human. The male victim is no less
manly for having been victimized and, of course, no more
defenseless than the female. Nor is the female victim seen
to be weaker or more subject to fear than the male. Both
male and female have been violated."
- M.S. Mason, Westword
"In one particulary effective case, Joseph Miller provides an impressive portrayal of a woman testifying against the accused man played by Ellen Orloff. Miller cries, "He (the accused) went over to the boy, picked him up and smashed him against the wall. Afterward, he told me to clean it up." Orloff's frigid response of denial evokes emotional exhaustion from the victim.
Cole brilliantly molded the original script of court
reports into a work of art, using the actors as props and
set pieces. Cole also incorporated his dance training into
the play. In the "Song of the Possibility of
Survival," actor Kevin Stephens reminds us that
outside the camps the world was still dancing and having a
great time. Cole choreographed an Andrews-Sisters lip-sync
to "Bei Mir Bist du Schoen," performed by
actresses Orloff, Martin and Freeland. Behind their sweet
and smiling faces loom frozen scenes of torture, fear and
death."
- Chari Greenberg, Boulder Weekly
"Jeremy Cole's fine direction of this piece takes one deep into the human race consciousness. Six men and four women, barefoot and dressed in crisp, clean white GI's, take turns as victim and villain, judge and jury.
...Our savior is Cole's direction. His clean,
unwaveringly intelligent approach lets us for the space of
the play's staging time remain relatively unaffected
emotionally. The next morning, your head will be full of a
memory that will not be shaken easily. Your eyes will fill
and your heart will affirm that this will never happen
again. Cole's core concept that personal responsibility
and a code of ethics are as important in war as in peace
time slams home with the force of absolute
truth."
- David Marlowe, Out Front
"Director Jeremy Cole once again brings more to the
production than the script he's been given truly
warrants. Cole has a remarkable talent for investing lesser
work with aesthetic vitality, and he breaks through
Field's walls of rhetoric to find the life behind her
arguments. You never feel cheated by his insights; the
moment of the creature's birth and the moment of his
bride's demise radiate a strange power."
- M.S. Mason, Westword
"Taken simply as a piece of theater, the version of
Playing With Fire by Hunger Artists is a thrilling
gothic drama. The play passes like a dream, with a group of
extraordinary actors playing pale and dreamlike people who
come and go between dark curtains. Director Jeremy Cole has
taken a tale tarnished by pop culture parodies and cloaked
it in mystery and meaning. This one excels in every
feature. In clarity and depth, it sparkles like a dark
jewel."
- Jackie Campbell, The Rocky Mountain News
"(unlike most film versions) Barbara Fields' adaptation, Playing with Fire (after Frankenstein) now being given an absorbing, well-acted staging by Hunger Artists, takes on the story's deeper themes.
In the process, Playing with Fire becomes a more faithful rendition of Shelley's classic, with its probing questions about death, loneliness, immortality and responsibility for one's acts.
Director Jeremy Cole's perceptive staging makes
Shelley's points without making either the scientist or
his creation the farcically mad figures associated with
most "Frankenstein" flicks."
- Dianne Zuckerman, The Boulder Daily Camera
"Purists may blanch at director Jeremy Cole's adaptation of Shakespeare's Macbeth, but the adventurous revision has much to say to us...
...but it's Lady Macbeth, not her husband, who goes insane and then commits suicide. And here is where Cole's adaptation gets most interesting -- he gives Lady Macbeth ample reason to go crazy. Without adding a single line to the play, he has her react in dismay to Macbeth's assassination orders. Then, disguised as a messenger, she herself warns Lady Macduff. When the murders take place anyway, they prey on her mind; a woman who tried to fill herself up with "direst cruelty," it turns out, is not cruel enough to survive her conscience. Cole's elegant little device works very, very well.
Through it all, Cole does no real violence to the spirit
of the play. He simply brings out different nuances, and
his grasp of this great work is fresh and intelligent...
It's not the most profound vision of Macbeth's
devolution, but like the rest of Cole's interpretation,
it's still powerful, beautifully performed and
memorable: a Macbeth for the Nineties."
- M.S. Mason, Westword
"...this is a masterful production of a work that bristles with brittle, sarcastic, often humorous dialogue as it raises some important contemporary issues.
Director Jeremy Cole has assembled an effective cast,
led by superb performances from Martha Greenberg as the
dissolute but highly observant D.K. and Matt Cohen as Chad,
a seething backwoodsman teetering on the verge of
explosion."
- Sandra Dillard-Rosen, The Denver Post
The play is a joy to watch, primarily because of Jeremy
Cole's directorial genius. His taut pacing perfectly
accentuates the climax and his lighting design creates the
ideal mood. He brilliantly orchestrates overlapping
dialogue and has assembled a superb cast."
- Cha Snyder, On Stage
"For actors, getting a good role is like receiving a gift, one they can pass on to audiences through a good performance.
It's an apt analogy for Boulder actress Martha Greenberg's work in the highly praised The Mound Builders, at the Theater at Muddy's in Denver.
"This is one of those roles that was handed to me," Greenberg says, diving enthusiastically into a discussion about performing in Lanford Wilson's drama set on an archaeological dig.
Director Jeremy Cole, who remembered Greenberg from a previous audition, asked her to come to call-backs for The Mound Builders, where, Greenberg recalls with a laugh, "there was no one else there for the part."
Greenberg was delighted to be cast because she had wanted to work with Cole for a long time. "In the grapevine among actors, he's very, very highly considered.
"Actually, I probably would have done any play just
to work with him," Greenberg says. "As it turns
out, I think it's a great play. It's a stellar role
for me. And it's been one of the best experiences
I've had, because of the strong quality of the
cast."
- Dianne Zuckerman, The Boulder Daily Camera
"Innovation has its price, and the liberties Denver director Jeremy Cole has taken with The Adding Machine, Elmer Rice's famous 1923 experiment in expressionism, may not please purists entirely. But you have to hand it to Cole; he has found exciting ways to translate the dated designs of expressionism into contemporary and utterly scathing terms. His outrageous welding of electronic media and theater reflects trends in performance art, and his use of classic film clips to expand and illustrate the play's ideas is ingenious. ...
...Of course, the adding machine is a primitive tool
compared with the computer, and while Rice's essential
message is still relevant, Cole had to find a new way of
delivering it. A large video screen and several small
monitors dot the theater. A particularly amusing computer
console has been set up with arms and multiple screens to
represent a technology beyond the grave. And to underscore
just how lost the play's protagonist is, Cole
incorporates poetry by modern masters to express what is
best in the human spirit. The contrast is sometimes
stunning and always engaging."
- M.S. Mason, Westword
"In a new production of The Adding Machine at the Guild Theater in Boulder, however, the political issues are largely eclipsed by a more contemplative approach to the play's ideas. This free-wheeling adaptation by director Jeremy Cole, is augmented by poems from W.H. Auden, Robert Frost and others and video images from (among others) The Wizard of Oz and Metropolis.
The result: The play is as much about Jeremy Cole as Elmer Rice. This is not a problem. A writer, director and designer, Cole is one of the most prodigiously talented people in Denver-area theater. His thoughts on our soulless society are both challenging and profound, all the more so, since he communicates them through the very media he sees as corrupting us.
The short evening contains a dizzying mix of audio and
video technology, and live characters interact with
artificial ones as if no one can tell the difference
anymore."
- Alan Dumas, The Rocky Mountain News
"Filled with memorable moments, Jeremy Cole's
multimedia production of The Adding Machine is
complex and provocative. It is brilliantly thought out,
creatively staged theater that is thoroughly absorbing.
There is little doubt that Cole is one of the most
imaginatively creative directors currently working in
Boulder and Denver."
- David Marlowe, Boulder Planet
"Given a decidedly late Twentieth Century twist by
director Jeremy Cole through the use of multiple television
monitors, and video and audio playback, including taped
appearances by many of metro Denver's finest actors,
The Adding Machine reminds us of just how paltry our
efforts have been to loosen the tyranny of capital and
technology over human affairs. "
- Bob Bows, ColoradoDrama.com
"Materialism is destructive, especially when its false ideals lodge in the breast of a man who is too good for them. In director Jeremy Cole's beautifully realized staging of Arthur Miller's Death of a Salesman, Willy Loman's wrenching descent into madness and death speaks eloquently to the "winners and losers" mentality of American culture in the Nineties -- and convincingly denounces it. Cole's production at the Town Hall Arts Center in features several fine performances and a thoughtful, poignant interpretation of what is arguably Miller's greatest play...
...The death that Willy suffers, many have suffered. The
love he feels but fails to express, many more have failed
to show their children. As Cole delicately reveals, this is
Biff's tragedy as much as Willy's: Sometimes
it's easier to love one's enemies than it is to
love one's friends."
- M.S. Mason, Westword
"Jeremy Cole succeeds in bringing Miller's
battle cry to end man's inhumanity to man into clear
focus with his direction. Don't go expecting to be
entertained. Go to be put in complete awe of what, in my
opinion, is arguably the best American play to
date."
- David Marlowe, Out Front
"Brilliantly directed by Jeremy Cole and enacted by
a talented cast, it is an acid-humored play whose laughs,
unfortunately, depend on some sickening
lampoons."
- Jackie Campbell, The Rocky Mountain News
"The bickering family in Talley & Son may not be the kind of folks you'd want in your living room, but they're absorbing company in the production Jeremy Cole has staged for Hunger Artists...
...There's a terrible sense of irony throughout, as
the fresh-faced Timmy, unseen by the others, navigates the
troubled family waters, beaming sweetly at the mention of
his name. And it's a credit to Cole's deft staging
that one moment we're aware of Timmy's presence,
then suddenly, he's melted away unobserved, as the
focus shifts to an intrusive telegram."
- Dianne Zuckerman, The Boulder Daily Camera
"Masterfully directed by Jeremy Cole, "for
colored girls..." is spellbinding and emotionally
charged as the magnificent cast of women grace the stage in
a rainbow of color."
- Madeline Gallegos, The Urban Spectrum
"Sensitively and powerfully directed by Jeremy
Cole, "for colored girls" is painful, true, funny
and often devastating. It also contains moments that are
sometimes so private we feel as if we should turn our eyes
away."
- Sandra Dillard-Rosen, The Denver Post
"As ridiculous, pitiable and egocentric as most of
them are, each of the characters has a full-blown humanity,
though we know comparatively little about them. That is
partly because Clifton was born to the role and because
director Jeremy Cole is particularly adept at creating
striking visual imagery from peculiar behavior - even on a
gray stage with no props."
- M.S. Mason, Westword
"Inventive staging and lighting, sharply honed performances and excellent background music mark the steamy thriller Unidentified Human Remains and the True Nature of Love, in which two roommates look for love while a serial killer is on the loose.
The story, as directed for maximum impact by Jeremy Cole
at the Theatre at Jack's, fascinates even as it
repels..."
- Sandra Brooks-Dillard, The Denver Post
"There is much to recommend in watching Cole's
handling of the script. A gifted and inventive director, he
has marshalled the disparate resources before him into a
production that, in lesser hands, would have had little
shape or form at all."
- Jim Lillie, The Colorado Daily
"Written by Brad Fraser, this erotic thriller is
enhanced by the direction of Jeremy Cole. Cole uses an air
of mystery throughout the production, with creative
lighting and haunting music to draw the audience into the
world of the play."
- Diane Beckoff, Time Out