La Ronde
(2013)
"Dilworth’s staging is physically ingenious, emotionally and
atmospherically superb; it’s also, for all the explicitness, remarkably
tasteful and tactful. ... This is Soulpepper’s most adventurous production in
years." Robert
Cushman, The National Post
"Director Alan Dilworth creates a seamless production. ... Raw,
provocative, shocking, stimulating and maybe at times, even jaw- dropping. ...
It garnered a standing ovation on its opening night and I hope the streak
continues." Mooney On Theatre
"Under Alan Dilworth's taut direction, La Ronde is edgy even in its quieter moments, making Schnitzler's original play about the sexual mores of turn of the century Vienna, seem awfully tame." Scene Changes
"Under Alan Dilworth's taut direction, La Ronde is edgy even in its quieter moments, making Schnitzler's original play about the sexual mores of turn of the century Vienna, seem awfully tame." Scene Changes
"Dilworth draws extraordinarily committed performances from the
entire cast." Christopher Hoile, Stage Door
"Director Alan Dilworth
gets confident and vulnerable performances ... keeping us on the edge of our
seats in anticipation as the set breaks apart between each powerful
rendez-vous. Audiences will often find it difficult to watch but even harder to
look away." Theatromania
"The
thing works, held together by Sherman’s sharp writing, a terrifically talented
ensemble and the firm direction of Alan Dilworth, making an impressive
Soulpepper debut." Glenn Sumi,
NOW Magazine
"Directed
with flourish and a firm sense (pun intended) of control by Alan
Dilworth." Deirdre Kelly,
Critics At Large
"Great direction. Alan Dilworth always delivers." Theatre Isn't Dead
"In execution, the play is excellent." The Charlebois Post
Blue/Orange
"Director
Alan Dilworth gives a fresh new
voice to Joe Penhall's seminal work." The Kingstonist
Crash
"Alan
Dilworth’s direction is exact and inventive; the Passe Muraille backspace,
theoretically one of the most constricted theatres in Toronto has often housed
surprisingly elaborate productions, but this one sets new standards." Robert Cushman, The National Post
"Director Alan Dilworth, who also shepherded Erin Shields’s Governor-General’s Award-winning play If We Were Birds to the stage, again provides a stylish but sensitive staging for a story of violence against women. ... The whole package impresses thoroughly." J. Kelly Nestruck, The Globe and Mail
"The production ... just grabs you. ... It is beautifully directed by Alan Dilworth—a really gifted director. He has a fine eye for the small but perfect detail and for guiding such a performance. Theatre at it’s finest." Lynn Slotkin, The Slotkin Letter
"Crash is an insightful play given a magical production no theatre-lover should miss. Under Alan Dilworth’s clear-sighted direction, Sinha tells her tale in a completely dispassionate voice, as if the autobiographical story had happened to someone else, indeed, to the third-person character of the Girl. Pop psychology always suggests that people can somehow put terrible experiences “behind” them and “move on”. The calmness of Sinha’s delivery gives the lie to these notions. ... impressive production." Christopher Hoile, Stage Door
"What I experienced last night was so raw with emotion and powerful that I don’t know how I can possibly review it. I feel a little out of my depth here and at an utter loss for words, but hopefully I’ll convince you to go and see it. This one-woman show left me with shivers up my spine and tears in my eyes. I don’t think I have ever seen a show like this. Granted I tend to pick the fluffier, funnier, musical type of shows but after this I think I need to watch more 'real theatre'. This to me is as good as it gets. ... The bottom-line is that you must go see this show. That’s all I can really say." Sonia Borkar, Mooney On Theatre
If We Were
Birds
"The
production takes you gently by the throat and doesn't let go or let you look
away. ... It's directed again by Alan Dilworth, surely one of our most
accomplished directors. He has such a clear, precise vision of how to realize
the elegance, poetry and brutality of the play that is compelling." Lynn Slotkin, CBC Radio
"If We
Were Birds is raw, red-meat theatre and absolutely not for the faint of
heart." Robert Crew, The Toronto
Star
"Anyone
doubting the relevance and primal pull of myth needs to see If We Were Birds.
Scratch that. Anyone interested in powerful theatre should see it." Glenn Sumi, NOW Magazine
"Alan
Dilworth directs with potent theatrical minimalism." Christopher Hoile, Eye Weekly
The Middle
Place
"If you
go to see a lot of theatre, you can start to feel as if you are suffocating
inside a hermetically sealed container. The Middle Place opens a window." J. Kelly Nestruck, The Globe and Mail
"The
results, under Alan Dilworth's direction, are remarkable, both imaginative and
respectful: factually-based but more than dramatized social work." Robert Cushman, The National Post
"The
results are moving, eye-opening and filled with hope, as the talented ensemble
cast morphs from one character to another under the expert direction of Alan
Dilworth." Jon Kaplan, NOW
Magazine
Iphigenia
at Aulis
"Euripides'
tragedy about violence in wartime comes through with maximum power in Alan
Dilworth's clear, timeless production." Glenn Sumi, NOW Magazine
"The
closing sections of this production are drainingly powerful, the real Athenian
McCoy." Robert Cushman, The
National Post
The Bundle
“Captivating,
that was Ryerson's production of The Bundle by Edward Bond. From the audible
gasp from the audience right at the end of the first act straight to curtain
call, it was impossible to turn away. … at some point, a shiver makes its way over the seats like an
invisible wave.” Jessica
Wei, The Charlebois Post
