The Improbable Fall, Rise & Fall of John LawTHE IMPROBABLE FALL, RISE & FALL OF JOHN LAW by Matt Herzfeld (The Dreamscape Theatre/IRT Theater, March 2016)

A rip-roaring entertaining yarn about the invention of paper money in the early 18th century… Lucky for us Matt Herzfeld has dramatized this slice of history for us and Dreamscape Theatre has assembled a crackerjack ensemble of nimble actors under Brad Raimondo’s adroit direction and a clever collection of Designers who have turned the tiny IRT stage into England and France and Scotland.” –Eva Heinemann, Hi-Drama

“A witty comedic romp…  Features a wonderfully diverse and multi-talented cast… The Improbable Fall, Rise, & Fall of John Law is an epic comedy. Tackling it and bringing cohesion to the stage is no easy feat but director Brad Raimondo did an exquisite job… every choice that Raimondo and his team made was strong and supported.” –Michael Bradley Block of Theater in the Now

“In this Dreamscape Theatre production, written by Matt Herzfeld and directed by Brad Raimondo, Law and his era are depicted with light-hearted aplomb… The ensemble switch roles, accents and genders with heady enthusiasm, a collective skill for comedy and carefully placed pathos… Despite the play’s length, the pace runs around itself in a dizzying farce that borrows from sexually precocious Restoration Comedy and TV’s Monty Python and Blackadder.” –K Krombie of


IN FIELDS WHERE THEY LAY by Ricardo Pérez Gonzalez (The New Ohio Theatre/The Dreamscape Theatre, 2014)

“Brad Raimondo directs the performance with cinematic fluidity… His biggest accomplishment comes in the world he has created for this play — he not only emulates the trenches of WWI, but evokes a high-stakes world on the edge of destruction. For most of the play, we are on the edge of our seats, fearful that the world could come to an end at any second. Raimondo’s bleak but beautiful vision is well-served by the design team.”
–Dave Osmundsen,

One of the most extraordinary things I’ve seen on stage in a long time… a beautiful, beautiful production”
–Michael Portantiere of Broadway Radio

“A riveting experience… so heartbreaking, so moving, so poignant… I highly, highly, highly recommend [it]”
–Peter Filichia of Broadway Radio

This is theater at its most expressive—intimate, perfectly staged and beautifully acted… Mr. Raimondo’s pacing is expert, allowing long moments of calm to alternate with the more frenetic scenes.”
–Joel Benjamin, Theater Pizzazz

“As imagined by The Dreamscape Theatre, this Christmas miracle is as uplifting and tear-jerking as one could hope for”
– Zachary Stewart, Theatermania


WHALE SONG or: Learning to Live With Mobyphobia by Claire Kiechel (Dreamscape Theatre/FringeNYC Summer, 2011)

“A moving and artful look at coping with the loss of a loved one… The direction of this play by Brad Raimondo is truly beautiful and pointed. Whale Song or: Learning to Live with Mobyphobia is the perfect meeting of script (by Claire Kiechel) and direction… Raimondo consistently uses simple objects and staging to create scenarios that many directors would think they needed a higher budget to create.”
-Ryan Emmons,

“Brad Raimondo directs with the deft, steady hand that’s necessary for a play that hops in and out of reality.”
-Arlene McKanic, New York

“The smart and inventive staging by Brad Raimondo is quite creative, and helps his ensemble to make the stage feel much bigger than it is.”
-Mateo Moreno, Big Vision Empty Wallet

“Surreal and cleverly absurd, Whale Song is nonetheless drawn to the darker questions of death, loss, and sanity… director Brad Raimondo’s staging echoes the isolating quality of Maya’s grief.”
-Chloe Carter Brown, New York Theater Review

Agatha Christie’s AND THEN THERE WERE NONE (Festival 56, July, 2012)

“Festival 56’s production of And Then There Were None, directed by Brad Raimondo, breathes new life into the old plot.  …The danger onstage is palpable, and I guarantee you will rarely see this caliber of excitement in live theater…
“Raimondo has set up a game for the audience in that his murderer is playing fair. The perpetrator does all the machinations of each murder in full view of the audience. Watching the final dress rehearsal with prior knowledge of the show, I must admit that I missed every one of those actions, but that was largely because I was busy watching everyone else onstage, since every character seems to be up to something.”
-Ron McCutchan, The Bureau County Republican

GREEN MAN by Don Nigro (Pageant Wagon Theatre/FRIGID Festival 2010)

“A bold production with a taut ensemble and a shoestring budget, it’s a fine example of fringe theatre… Director Brad Raimondo has done a masterful job in orchestrating the cast’s movements and steering them through Nigro’s poetic and challenging dialogue… Raimondo, the ensemble, and production designer Morgan Anne Zipf have crafted some breathtakingly lovely movements… The final tableau is as arresting as it is unexpected—for an instant, the company creates the image of a desolate, snowy landscape, with just a clean white sheet spread across the floor.”
-Heather J. Violanti,

IN FIELDS WHERE THEY LAY by Ricardo Pérez Gonzalez (The Dreamscape Theatre, 2009)

“Smart and effective direction… a first-rate cast gives a fine example of ensemble acting.”
-Wilborn Hampton, The New York Times

“Brad Raimondo’s direction of this work serves as a showcase for these actors as well as his directing style…  This is a tight group who respect the style in which they are performing… as if they are part of an acting squadron rather than a cast.  Raimondo is to be commended for that as well... it’s clear that this is a show that had an amazing vision.”
-Michael Roderick,

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