"All the words that best describe THE BULLY would damn with faint praise any other show. Brisk, clever, and sunny, THE BULLY is ultimately the type of entertaining educational musical for which its easy to envision a life of touring...Brisk, clever, and sunny, The Bully is ultimately the type of entertaining educational musical for which it's easy to envision a life of touring schools across the country." Backstage.com Mark Peikert
"Troy Miller, whose able direction keep the action moving nicely, as well as his coming up with some very enjoyable choreography for the musical numbers....The Bully is a nicely conceived production - and one which can be enjoyed by both children and their parents." -OOBR Judd Hollander Vol 14 No. 6
"A large cast, imaginatively directed, brings constant visual flair to the piece." Daily News
"...the acting is very, very good by this talented cast, the direction (by Troy Miller) is inventive and at times ingenious, the fight choreography (by Rini) is well done and its execution by the company is impressive. Even the music is nicely done and, in true ensemble fashion, all five of the players are credited with its composition." - nytheatre.com
"Director Troy Miller, however, enlivens the project with imaginative and highly theatrical staging..." -Backstage.com
"Shakespeare often inspires dramatic stagecraft, and there's no shortage of that in Isabelle Assante's 'Horatio.' " -TimeOutNY
"The play is very impressively staged, particularly for such a bare-bones performance space." - PlayShakespeare.com
"Horatio is an interesting experiment and an entertaining play..." - PlayShakespeare.com
"The Players also provide the music, and this is perhaps one of the most enthralling elements of the show. They sing, they hum in harmony, and in the climactic sword fight, they provide a riveting fight theme with only a recorder and the percussion of hands against the trunk and the floor. Their score is so fitting and well performed that one often forgets that it’s not being piped in through speakers, but is actually being performed with no instruments by the actors on stage." - PlayShakespeare.com
"Assante’s bold experiment with the hallowed Hamlet will linger in the mind long after its much less bloody conclusion." -offoffonline.com
"The first piece, F.J. Hartland’s heartfelt Postcards From a Dead Dog, features Jason Hare and Jacqueline Sydney as Clay and Nell, a mother and son who have difficulty communicating. The way they’ve overcome this problem is to write postcards to each other - the postcards ostensibly coming from Clay’s childhood dog, [Rusty]. When [Rusty] died during Clay’s youth, Nell insisted that he’d merely gone on a long vacation. A postcard from [Rusty] arrived soon afterwards, and a convention was born. Hartland’s play is sweet and touching, and while it deals with issues that have been covered time and time again – coming out, a child moving from his parent’s influence, a parent’s mortality – it never feels clichéd. Part of this is no doubt due to Hare and Sydney, both of whom do stellar jobs in their roles. Troy Miller’s directing made nice use of a very spare set and kept the show visually interesting." -OOBR.com / Byrne Harrison
"The third play of the evening is the most interesting of the four. Dealing with the death of a young girl by the shore, Our Lady of the Sea, by Aoise Stratford, tells the story from the point of view of her grieving father (Scott Klavan), her boyfriend (Matt Stapleton) and the troubled young man who killed her (Tim Seib). Though they rarely interact, the three actors do a marvelous job of handing each other the narrative as they walk through the girl’s last moments and deal with their own emotions. With outstanding acting and deftly directed by Troy Miller, Stratford’s evocative play is extremely moving." - Byrne Harrison OOBR.com
"....the show really stands out for its ensemble. Troy Miller has directed this ensemble superbly." - Aurora Nessly - New Theatre Corps
"a six character gem...demanding in both dialogue delivery and measured physicality...The cast measures the recipe properly working magic." - The Syracuse Post Standard
"Director Troy Miller proves that farces like this one can only work with split second timing of the stage." - Syracuse New Times
"After driving the cast furiously for two hours, he [Troy Miller] sends them through a breathless curtain call that has to be seen to be believed." - Syracuse New Times
''Roar' is part tender drama and part searing comedy, all of it beautifully directed" - Margo Jefferson NY Times
"Nothing is predictable in ''Roar.'' A quarrel suddenly dissolves into affectionate banter, then resumes in another key. Some betrayals hold a seed of kindness, even generosity. Every action generates questions." - Margo Jefferson NY Times
"The production is earnest and careful, featuring a staging by Troy Miller that makes imaginative use of the resources of this small, plucky company (Osborne's script is almost cinematic in its requirements)." - Martin Denton NYtheatre.com
"Troy Miller's direction was compelling, and certain devices, such as using the daughters' own voices to provide the radio music that fueled their sentiments; the chilling performance by Hella Bel regarding Rose's worst fears; and Elizabeth Ulmer's compelling and spirited presentation of Frieda's attraction to the world beyond the farm contributed great poignance." - Deborah Greenhut OOBR.COM
