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GODSPELL

Infinity Theatre Company

"As he should be, Ostroff’s Jesus is a stand-out. Kyle Hines, a tall, strapping bearded actor with a strong, clear voice, provides the calm, warm central performance Godspell requires. Charming, subtly comic, and versatile, Hines reminded me of an ideal pastor, the one called to bring new life into a church, with just a hint of being a hipster dreamboat. His angered plea “Alas for You” and his performance of the empowering anthem “Beautiful City” are among the best I have seen." [Jeffrey Walker, DCTheatreScene]

"The standout number of the night is “All for the Best.” What starts as vaudeville routine between Jesus (Kyle Hines, whose voice I’ll be marrying in a quiet ceremony in my backyard because I want to honor the hippie spirit of Godspell) and John the Baptist (Andy Baldwin, who is able to look simultaneously handsome and yet with a deep-shouldered slouch I was told would keep me single the rest of my life) turns into a rollicking chorus line, complete with canes and straw hats. In fact, it’s such a show stopper that it’s a little confusing that it doesn’t, in fact, stop the show." [Mike Bevel, DCMetroTheatreArts]

"Infinity's production has equally gifted actor and singer Kyle Hines in the role of Jesus; he instantly engages the audience with his commanding stage presence and stunning vocal gifts. Hines never disappoints, showing enormous versatility in the Vaudeville-style duet "All For The Best" with Baldwin — complete with canes and straw hats. he then turns plaintive yet optimistic in "Beautiful City," and is exquisitely subdued in "On The Willows," a compassionate, tender goodbye to grieving followers." [Mary Johnson, Baltimore Sun]

"It all comes down to Jesus (Kyle Hines.) With a voice not unlike an angel, “Beautiful City” becomes an afterschool PBS special. When he roars into “Alas For You”, (set in the production office against Judas where Ostroff has concocted this standoff of sorts between the new regime and the righteous ways), there is a passionate belief that informs this number, funneling up directly from the core of his being. Hines is convivial; Hines is honest, Hines follows the humor of the show but treats it in earnest, not pushing or overplaying for laughs; this— just like with the real SNL makes the humor that much more successful." [Amanda N. Gunther, TheatreBloom]

THE MYSTERIES

The Flea Theatre

*Recipient of Drama Desk Award for Visionary Direction*

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*NY Times Critics’ Pick*

“‘The Mysteries,’ a five and a half hour event at the Flea Theater that is both gratifying and grueling” [Alexis Soloski, New York Times]

“Kyle Hines… is unaffected and charming as Adam;” [Joseph Samuel Wright, Theatre is Easy]

“the flesh is beautifully abundant, with little attention paid to its exposure but for a short and by that point unexpectedly funny moment between a newly resurrected Lazarus (Kyle Hines) and an obviously taken-aback apostle, Peter (Stephen Stout).” [Marti Sichel, Woman Around Town]

“Ed Iskandar (These Seven Sicknesses, Restoration Comedy) directs another marathon Flea circus—six hours, with a dinner break—in an ambitious refashioning of stories from the Bible. Among the 48 contributing playwrights are David Henry Hwang, Craig Lucas, José Rivera, Jeff Whitty, Amy Freed, Nick Jones, Qui Nguyen, Jenny Schwartz, Billy Porter and Erin Courtney.” [Helen Shaw, Timeout NY]

“The Mysteries is a five and a half hour tour de force at the Flea Theater. It is intelligent, well sung, well-acted and it crucified my soul… Look for Ms. Allemano, Ms. Nahodil, Ms. Earls, Ms. Dillon , Ms. Pacheco, Ms. Buck, Mr. Otto, Mr. Cox, Mr. Gardella, Mr. Hines and Mr. Kulz on stages all over New York.” [Suzanna Bowling, Times Square Chronicle]

“A five-and-a-half-hour play about the Bible? Could anything be more boringly right wing conservative? The miracle is that the Flea Theater’s The Mysteries, conceived and directed by Ed Sylvanus Iskandar, sweeps away the mustiness and hype and makes the Bible not only exciting, but sensual and contemporary. These 54 actors and 48 playwrights have fashioned an epic in the same league as the Royal Shakespeare Company’s Nicholas Nickleby and the Steppenwolf’s Grapes of Wrath. The wisdom of the playwrights and the vivacity and dedication of this huge cast of very hardworking actors take the audience on this totally involving magic carpet ride. This panoply of well-worn, cliché-ridden mythology becomes a totally involving drama in the hands of this troupe.” [Joel Benjamin, Theater Pizzaz]

THE PIRATE LA DEE DA

Atlantic Theater Company

*Recipient of the Off Broadway Alliance Award for Best Family Musical*

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*New York Times Critics’ Pick*

"Directed with comic flair by Kristin Hanggi, the show abounds in surprises, and not just what’s underneath some of the pirates’ Day-Glo-colored beards. One funny bit depends on a child randomly selected from the audience; others involve shadow puppetry and a gargantuan sea monster (both cleverly designed by Edward T. Morris). And while some may object to La Dee Da’s suddenly falling in love, no one could call her choice expected. But perhaps the biggest surprise is the seriousness that underlies all the fun. This may be comedy for 5- to 10-year-olds, but it’s comedy with a conscience. As La Dee Da proclaims at the end, “We are only as rich as our poorest child.” Amen — or should I say aye, aye — to that.” [Laura Graeber, New York Times]

CHILDREN OF EDEN

Astoria Performing Arts Center

*Recipient of the NYIT Award For Best Musical Revival*

“Children of Eden, long overdue in New York, has finally received a worthy production… Astoria Performing Arts Center’s production… is a joyful, magical evening that is ultimately both entertaining and moving.” [Victor Gluck, TheaterScene.net]

“Another standout is Kyle Hines. He is believable throughout in his supporting role as one of the eight Storytellers.” [Oscar Moore, OscarEMoore.com]

HEAD OVER HEELS

Oregon Shakespeare Festival

*World Premier Musical from The Go-Go’s*

Written by Jeff Whitty

Musical adaptation by Carmel Dean

Choreography by Sonya Tayeh

“Mr. Whitty’s adaptation gleefully marries archaic language with self-conscious jokes and contemporary gags, to generally scintillating effect.” [Charles Isherwood, New York Times]

“I relished the ingeniousness with which Mr. Whitty has slotted the songs into the unfolding dramatic action, and Ed Sylvanus Iskandar’s production is frisky and genial.” [Terry Teachout, The Wall Street Journal]

COUNT OF MONTE CRISTO

Oregon Shakespeare Festival

“The Oregon Shakespeare Festival’s new production of ‘The Count of Monte Cristo,’ directed by Marcela Lorca, Shows that even with the usual sensational trappings, melodrama can still tell a story with human depth and rounded character whose dilemmas touch us on a level beyond mere thrills.” [Bill Varble, Mail Tribune]

“‘The Count of Monte Cristo’ at the Oregon Shakespeare Festival has top notch production values and acting that you would expect from a theatre the caliber of OSF.” [Bill Choy, Siskiyou Daily]

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