Press Reviews


“As great as [Lindsey] Austen is in the role of Alyssa, she is matched by Deanna Henson playing the role of her mother. Her performance is electrifying, overflowing with love, rage and frustration… Watching her and Austen together, you may well forget you are in a theater.” – Show Business Weekly

“Actress Charity Schubert helps make the Italian setting of the play believable by pulling off an accent and a pretentious air.”

“Playwright Gillespie and director Hashimoto succeed in creating a consistently compelling story that never has a dull moment.”

Theatre Is Easy


“A triumphantly sincere piece of theater…”

“Lauren Weinberg as Maggie is a graceful and endearing center…”

“Weaver is putting her heart in your hands, and that’s the greatest gift any playwright can bestow.” –

“Megan Weaver’s brave script is at once completely universal, and so personal you feel like you should look away. It strikes that magic Eugene O’Neill-esque balance of being clearly her story, but never making you feel like you’re watching someone’s therapy session. It also shows a refreshingly complex, adult relationship between two women which, sadly, is still rare on the stage.” – New York Theatre Review


New York Innovative Theater Award Nominee for Outstanding Production of a Musical.

Check us out on the NYIT Blog.

“As with all of his plays, Pat Shaw’s language is enveloping; he is a poet and I find myself swimming in his language. Brian Hashimoto’s direction is lovely and efficient and correct in its service to the text.” – New York Theatre Review


2010 FringeNYC Overall Excellence Award for Directing

“Lillian Meredith is a young director to watch. She does a good job of staging the play and uses some wonderful imagery. Plus, she has drawn excellent performances from all three actors – Bassett is dangerously riveting, Clement is honestly believable, and Weinberg is touchingly emotional”

“I was drawn immediately into the world of this play and I was emotionally moved by it. Hamlettes is definitely worth seeing” –

“Ask me in a month which Fringe Play impressed me the most this year and I will launch into explanation of FullStop Collective’s Hamlettes” – NYTR

“With the production’s outstanding direction, strong and capturing script, and remarkably flexible actors, Hamlettes is a great show bordering on amazing” – PxP


“a daring, funny, frank exploration into group mentality and the pain of exclusion”

“All actors, under Leta Tremblay’s direction, offer stellar performances that fully flesh out their social roles”

“a must-see” – NYU News

“Lucy Gillespie… has a way with dialogue; her ear is uncanny and she is able to perfectly capture the innocent cattiness that tumbles from young school girls almost without their thinking”

“The ensemble of girls do an incredible job of permeating the entire play with the air of girlhood… they effortlessly move from young, childish girls to young women”

“Ms. Gillespie writes well beyond her years” – The Happiest Medium

“I thought this was a new piece by a young company, but it was so polished and professional I second-guessed myself….I was genuinely impressed”

“Gillespie’s treatment of the situation reaches toward theatrical brilliance”

“You should definitely see Hangman School for Girls both because it’s a good play, and because it’s a promise or pledge of great things to come” – Cultural Capitol

“Psychologically engrossing….sharply driven” – Off Off Online

“it’s cute, fun, extremely emotional, and thought-provoking”

“director Leta Tremblay does a brilliant job” –


“The strength of [FullStop’s] cooperative rests in a sense of shared adventure and risk. The more they continue to challenge each other, and to raise their realization to the level of their ambition, the more FullStop will distinguish itself as a collective not only worth watching, but dating long term” – City of Glass Arts and Culture / PxP


“Georgie’s best guy friend from college (portrayed with endearing awkwardness by Patrick Shaw)”

“Lillian Meredith has just the right mixture of confidence and anxiety to play Georgie, while Kymberlie Stansell has a pitch-perfect take on Max’s haughty, demanding personality” – offoffonline

“different and refreshing”

“Director Tasha Gordon-Solomon has utilized the space well and fostered a strong ensemble…. The three work together with ease and generosity” –