"'If you can get somebody in a room to see somebody live and love within the context of a story,' says Erbacher, 'it makes it so much harder to ‘other’ that group of people.'"

-from Metro Weekly's profile of Theatre Prometheus Artistic Director,
and director of [gay Cymbeline], Tracey Erbacher (January 2017)


"[The] direction, acting, performance style, and stage arts [are] utterly beguiling... Suffice to say, it had me enthralled throughout."

-DC Metro Theater Arts on [gay] Cymbeline (2017)


"The ensemble, aptly directed by Tracey Erbacher, is really outstanding... The decision to cast a woman in the role of Posthumus is a revelation. Suddenly, Shakespeare's silly comedy has real political bite... The gender-blind casting that follows allows other women to turn in star performances in roles that would have otherwise been closed to them."

-BroadwayWorld on [gay] Cymbeline (2017)


"Unlike some other recent Shakespearian productions involving playing with gender—which have been criticized for not using this tool to truly complicate the work they’re doing or even adding in elements of misogyny to the text—Cymbeline actually benefits from its queering...The tagline for [gay] Cymbeline is #MakeShakespeareGayAgain, but what Theatre Prometheus has actually done is to create a fresher and more enjoyable version of this classic play."

-DC Theatre Scene on [gay] Cymbeline (2017)


"The performers luxuriate in the Bard's linguistic dance routines, and everyone involved operates on a high level...[The production] breathe[s] vital new life into one of Shakespeare's less celebrated works."

-DCist on [gay] Cymbeline (2017)


"Both timely and timeless, Theatre Prometheus’s production of this remarkable play will leave a strong impression on all who see it...Playwright Naomi Iizuka’s narrative moves effortlessly back and forth in time and director Lauren Patton’s execution of the script is excellent.

 [...] The play is utterly, perfectly cast. All of the actors deliver jaw-dropping performances, led by Ife Johnson’s powerful portrayal of Chloe, the victim of everyone’s misdirected scorn.

[...] The play reminds us that just because you’re 'a good kid,' doesn’t mean that terrible things can’t happen to you or that you can’t do terrible things to others. Everyone is human. This is a great script, a great production and a must-see in this year’s Capital Fringe Festival."

-DC Theatre Scene on Good Kids (2016)


"Theatre Prometheus is presenting a remarkable production of Naomi Iizuka’s Good Kids, which is inspired by the famous Steubenville, Ohio rape case of 2012.
You should run to see this show. It is wonderful to see these talented young actors display such commitment and fire in their performances.  
Direction by Lauren Patton is first-rate, and this play deserves a place in the forefront of the conversation about rape, privacy, and the social consequences of gender...
Good Kids is not to be missed!


-DC Metro Theater Arts on Good Kids (2016)


Metro Weekly featured our production of Good Kids in their 2016 special issue on the Capital Fringe Festival!


"The ensemble as a whole successfully carried the audience from moment to moment in the tragic story. Each actor brought his/her own level of individuality and creativity to Shakespeare’s roles that have been around for centuries...Full of creativity and energy, Theatre Prometheus is a group you do not want to miss!"

-DC Metro Theater Arts on [all-lady] Macbeth (2016)


"[Theatre Prometheus' production] is a testament to how good theatre can be as simple as Shake n’ Bake. One part provocative writing to one part committed acting, together with a splash of politics and a pinch of lyricism. The result is a delicious if slightly salty soufflé that rises with feminism and is best served piping hot.


-DC Metro Theater Arts on The Second Coming of Joan of Arc (2015)