In the News


A Lovely Sunday for Creve Coer
Tim Daly as Rev. Shannon and Jean Lichty as Hannah. Photo by Joan Marcus


“The Night of the Iguana is not without its misty pleasures… the unflinching DeLaria… Rubin-Vega’s unshakable earthiness… the surety with which Lichty imbues her character…”

The New York Times


“See The Night of the Iguana… one of Tennessee Williams’s beautiful b-sides, an empathetic meditation on faith and intimacy…”

– Sara Holdren, New York Magazine



– Roma Torre, New York Stage Review

“There’s no denying the powerful poetry of Williams’s language in Emily Mann’s beautifully staged impressive production.”

Culture Sauce


  Daphne Rubin-Vega Is Not Your Hypersexualized Stereotype Playbill
Photo from the production A Lovely Sunday for Creve Coeur

About A Lovely Sunday for Creve Coeur

“‘Creve Coeur’ does sparkle.” 

– Ben Brantley, The New York Times


“Stellar revival.”

– Zachary Stewart, TheaterMania


“Wickedly witty, equal parts funny and sad.”

– Jonathan Mandell, New York Theater


“A well-mounted rarity by one of the great masters performed by an exceptional company.”

– Michael Dale, Broadway World


Traveling Lady
Photo from the production The Traveling Lady

About The Traveling Lady

“Mr. Foote himself would have delighted in the perfect stylistic unanimity of this lovely revival.” 

Wall Street Journal


“Excellent revival. It’s the kind of theatrical magic you really have to experience firsthand.”



“‘The Traveling Lady’ emerges as a lovely revival, in which hope and regret run neck and neck, and repression is honed to an oaken luster.”

New York Times


“4 OUT OF 5 STARS. ‘The Traveling Lady’ is a particularlywell-shaped little jewel that is a beautifully performed revival.”

Time Out NY


“The ensemble is uniformly excellent and perfectly staged at the Cherry Lane. This revival of ‘The Traveling Lady’ would make Horton Foote proud.”

Huffington Post


About Nora


Theatre Reviews Limited


The New York Times


“Deftly directed by Austin Pendleton. Fully appreciate the genius of Ibsen and Bergman.”

Theater Pizzazz 


Theatre is Easy


“WONDERFUL..A MUST SEE PRODUCTION!  Stunningly directed and acted.”

Stage Buddy

“The remarkably versatile director/actor AUSTIN PENDLETON has… lovingly drawn out the details and subtleties required by the script. JEAN LICHTY’s Nora was complex and passionate, advancing from the demure somewhat passive child bride of the early scenes into a strong woman determined to face whatever the world might hold in store for her. TODD GEARHART’s Torvald demonstrated sternness fused with an underlying but rather judgmental affection for his wife. His emotional collapse at Nora’s final rejection was palpable. GEORGE MORFOGEN’s Dr. Rank was rich with subtext; his was a very powerful performance. ANDREA CIRIE’s Christine alternated modesty and a newfound power when she decided to come to the aid of her friend. LARRY BULL as Nils appropriately portrayed a fawning type of individual, who insistently wheedles for what he needs for survival. Set designer HARRY FEINER has made excellent use of the small stage, selecting set pieces that convey the ambiance required for this period piece. Costumes by THERESA SQUIRE fit the bill nicely. In sum, a fascinating and welcome theater piece in our period of change in so many areas, including that of gender and sheer human advancement.”      
The Epoch Times


By refining and stylizing some elements of Bergman’s adaption and elucidating the character portrayals with thrilling authenticity, the director and actors have heightened the essence of Ibsen’s themes and brought them into stark relief against the backdrop of our current culture. Indeed, the result is that Nora’s last scenes are especially powerful, allowing the last line of the play to be the exclamation point that resonates with memorable force.


About Loss of Roses

Terry Teachout’s Top 2014 Theater Picks


“And I reveled in any number of first-class revivals, including The Peccadillo Theater Company’s triumphant exhumation of ‘A Loss of Roses,’ a powerful William Inge drama that hadn’t been seen in New York since… 1959.”
The Best Theatre of 2014

Wall Street Journal


“Under the direction of Dan Wackerman, the acting in this Peccadillo production of William Inge’s drama from 1959 is stellar. The characters all have a stock quality at first, but the performers– particularly Kahre and Hedwall–deftly reveal them to be eccentric, complex, and very dark.”

The New Yorker


“A LOSS OF ROSES is a classic worth revisiting… Director Dan Wackerman delivers a polished production of this old-fashioned drama… Lichty and Kahre make strong impressions as the ill-fated lovers, while Hedwall is moving as a woman desperate to keep her son close.”

New York Post

“A LOSS OF ROSES is a strong and serious piece of work, and Dan Wackerman’s understated staging helps reclaim a fine play that should never have slipped from sight!”

Wall Street Journal


“Hedwall is excellent as Helen, combining a no-nonsense approach to life with real empathy, while Kahre and Lichty’s push/pull attraction is heartfelt… the play is solid, and the Peccadillo Theater Company has rightly revived it.”

Huffington Post

“Deborah Hedwall is excellent! Ben Kahre’s Kenny blossoms into a creepy charmer!”

The New York Times


“An impressive revival! Jean Lichty is especially poignant and deeply moving!”

New York Calling


“Jean Lichty’s voice and look are reminiscent of the late Jill Clayburgh and she brings a strong commitment to Lila… Deborah Hedwall… shines as a concerned single mother struggling to push her resistant son out of the nest. Artistic Director Dan Wackerman guides the production with a solid appreciation for Inge’s work and the rhythms of small-town life. Everything about their production looks and feels right.”

Edge Magazine


“A whisper of Tennessee Williams floats through The Peccadillo Theater Company’s polished revival of A Loss of Roses, one of playwright William Inge’s lesser known works… [All] three lead actors… give solid performances.”

Talkin’ Broadway


“The tightness of the mother-son fox-trot is expressed right off the bat in the ordinary, familiar, but heavily subtexted kitchen-table dialog that Inge has a genius for, and which director Dan Wackerman directs respectfully and handily… Ben Kahre plays Kenny brightly and believably as a good looking and broad-shouldered wastrel… but… it is rotten-luck Lila – soulfully rendered by Ms. Lichty – who wins our protectiveness.”

Center On The Aisle


About Rocket to the Moon

“Rewards the curiosity of anyone with an interest in Odets… Jonathan Hadary [is] amusingly nettlesome [as Mr. Prince]. Cleo Singer [is] beautifully played by Katie McClellan. In this production, which is handsomely costumed by Amy C. Bradshaw, the center of gravity shifts to Cleo. That’s what’s striking here.”

The New York Times

“The Peccadillo Theater Companies revival of Rocket to the Moon (1938) is smart winter programming. Odets’… characters are gifts to actors… our affections [swing] between Hadary’s joyful bull-in-a-china-shop and Eisenberg’s keen vulnerability.”
Time Out New York Critic’s Pick!

– Time Out New York

“Director Dan Wackerman shapes a vision of those on the precipice. Stark’s struggles are achingly portrayed by Eisenberg, while McClellan nicely captures Cleo’s vulnerability and longing. The Peccadillo Theater Company’s solid revival is worth seeing.”

Huffington Post

“Eisenberg… does an excellent job playing an American Everyman in hard times. McClellan… is perfectly cast as a young woman so full of life and hope that she makes most of the downtrodden men around her feel alive and hopeful, too.”

The New Yorker

“The Peccadillo Theater Company has finally and faithfully revived this rarely seen Odets play. Ned Eisenberg charmingly offers a focused portrait of amiability and despair as Ben Stark. Marilyn Matarrese brings empathy and dimension to the role of the frustrated and domineering Belle with her precise performance. With both very well played contrived haughtiness and tenderness, [McClellan] captures the essence of a young striver seeking to claw out of poverty on her own terms. Director Dan Wackerman has reverently recreated the look and sound of Odets.”

“There isn’t a weak link in this company of actors. At least four meltdowns are viscerally portrayed. Characters are alive in their skins as epitomized by physical mannerisms, accent, and behavior towards others. Director Dan Wackerman has done an excellent job of creating a naturalistic scenario. Scenic design by Harry Feiner is adroitly detailed and aptly worn down.”

Woman Around Town

“The cast… makes Odets’ gloriously purple dialogue sound like real speech. Marilyn Matarrese makes Belle into a prize bully, then reveals her real vein of fear at her core… Larry Bull’s Phil is a pitiable, scattered creature, full of nervous ticks. Michael Keyloun handles the ripest dialogue like a golden-era Hollywood pro.”

Lighting & Sound America

“It’s something of a miracle how undated this play feels. Wackerman’s production… provides a blessing for fans of Odets, who will get a chance to see a rarely performed Odets play on a professional scale.”

“The Peccadillo Theater Company pulls off a powerful adaptation of [Rocket to the Moon]… making Odets’ world strikingly accessible… Eisenberg is dynamic and believable as the bumbling dentist… McClellan makes a sympathetic case for his seductive secretary… Hadary is a true gem as Stark’s wisecracking father-in-law… Magically, the set captures the restlessness of pre-WWII Manhattan within the constraint of a dentist’s office.”

Center On The Aisle

“Matarrese plays the jilted wife like a wounded animal. Her words are her claws, poised to shred anyone who threatens the life she’s created… McClellan convincingly portrays the ingenue making up for a troubled home life with fantastical lies about her family’s wealth and privilege. Director Dan Wackerman makes her lack of power in this world terrifying and real.”