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JEREMY GABLE
REVIEWS
CLICK
HERE to read full-length
articles regarding Jeremy Gable and his
work from Philadelphia Weekly, The Orange County Register, NBC
Philadelphia and OC Weekly.
ON
WRITING "THE 15TH LINE":
"Gable’s
play builds tension with each update
and sucks the reader into a world of ever-increasing
urgency...It’s a living and breathing work of art capable of
turning any corner at a moments notice...The 15th Line
continually creates
those rare moments of intense urgency."
- Joshua Sessoms, NBC Philadelphia, 1/29/2010
ON
WRITING "TETROMINO SONG":
"Delightfully surreal."
- Jordan Young, LA/OC Theatre Examiner, 11/18/2009
ON
WRITING "140: A TWITTER PERFORMANCE":
"Somehow, in 140
characters it manages to capture
small town malaise, the pains of adolescence and the fear of aging."
- Relevant Magazine, September/October 2009
"Leave it to Jeremy
Gable, one of Orange
County's more fertile theatrical minds, to come up with the world's
first Twitter play (or at least the first one I've
heard of)."
- Paul Hodgins, The Orange County Register, 6/14/09
ON
ACTING IN "THE SHAPE OF THINGS":
"Jeremy Gable (Adam) is
outstanding, clearly showing the transition from 'nerd' to 'regular
guy.'"
- Joyce Rosenthal, Fullerton Observer
ON
DIRECTING "DARKTIME IN SKIPLAND":
"But it’s the final
piece, 'Darktime in Skipland', that’s the jaw-droppingly
best...You’ll just have to buy a ticket to find
out what eventually unfurls in this cacophony of brilliance."
- Stacy Davies, OC
Weekly, 11/19/08
ON
ACTING IN "THE REMOTE":
"Director Anthony Galleran and
especially actors Christina Martinez and Jeremy Gable all deserve some
kind of golden, shiny, award thingy for taking on 'Remote'...The
rapid-fire delivery breaking up normal conversation just screams
lockjaw for them—and a blast for the audience."
- Stacy Davies, OC Weekly, 11/19/08
ON
DIRECTING "SUMATRA MANDHELING":
"Jeremy Gable's direction
reveals the script's nagging subtext that Americans are coddled and
frighteningly sheltered from the crushing poverty of most of the world,
our materialism symbolized by Joe's huge cup of Starbucks coffee."
- Eric Marchese, Orange County Register, 09/13/07
ON WRITING "RE: WOYZECK":
"A moving,
richly poetic story...Always
interesting...It’s fresh, rarely
predictable...One of Orange County’s most genuinely
innovative
theatrical minds."
- Joel Beers, OC Weekly
ON DIRECTING
"FROZEN":
"An
especially effective black-box staging by Jeremy Gable."
- Eric Marchese, Orange County Register
" Jeremy Gable is both the
Director and Set
Designer for 'Frozen' and gets high marks for both jobs."
- Elliot & Joyce Rosenthal, Fullerton Observer
ON ACTING IN
"MUCH ADO ABOUT NOTHING":
"As
the scheming Don John, Gable delivers an odd duck...attesting to
Way-Agle's insistence upon a lighter tone."
- Eric Marchese, Orange County Register
" Jeremy Gable is especially
effective in his
dual roles."
- Elliot & Joyce Rosenthal, Fullerton Observer
ON WRITING "GIANT
GREEN LIZARD - THE MUSICAL":
"A silly, goofball-funny show that both tips its hat to and derides the
campy genre of monster movies that began to emanate from Japan in the
1950s...Gable has a way with a turn of phrase...Gable's songs are
cheerfully loopy, with the lighter, more sexually suggestive material
of the karaoke supplanted by the macabre, black comedy of the second
act's numbers. Melody-wise, his songs parody various genres, but it's
his lyrics that astutely zero in on their targets...Gable's inventive,
kitschy, tongue-in-cheek score."
- Orange County Register, 08/04/06
ON
PERFORMING IN "THE
THREEPENNY OPERA":
"More accurate readings are given by...Jeremy Gable as the pleasant
balladeer who opens and closes the show."
- Orange County Register, 07/28/06
ON
PERFORMING IN "THE
PLEDGE DRIVE: RUMINATIONS ON THE HUNGER ARTIST":
"A raspy-voiced Jeremy Gable makes the most of a monologue fittingly
eloquent for his character, a sick megalomaniac."
- Eric Marchese, Orange County Register, 05/21/06
ON
DIRECTING "4.48
PSYCHOSIS":
"Without resorting to the lurid, director Jeremy Gable and star Jessica
Topliff keep this journey an unsettling one. The pair brings the
necessary tools to Kane's text: respect for the material's integrity
that avoids reverence or pathos, yet averts sensationalism."
- Eric Marchese, Orange County Register, 03/05/06
"The staging, as it should be for this presentation, is absolutely
stark, just an institutional type table and two chairs. The
actress uses these pieces as props for her musings and ranting and
raving. The director of this powerful theatrical
performance..........I cannot bring myself to use the word 'play' here,
is Jeremy Gable...If you are interested in exploring the mind and the
theatre rather than just resting your brain of puff pieces this is the
performance to see."
- Elliot Rosenthal, Fullerton Observer, 03/11/06
ON
PERFORMING IN
"TWELFTH NIGHT":
"[Director Kelly] Flynn smartly casts [Melanie] Gable's real-life
brother, a solid Jeremy Gable, in the mainly plot-driven role of
Sebastian."
- Eric Marchese, Orange County Register, 01/27/06
ON
PERFORMING IN
"LITTLE WOMEN":
"As Theodore 'Laurey' Laurence, the polished, polite, soft-spoken young
gent whom all but Meg are drawn to but who only has eyes for Jo, Jeremy
Gable is immensely likable and subtly lonely."
- Eric Marchese, Orange County Register, 11/23/05
ON
WRITING/PERFORMING IN "MARAT.SADE":
"Jeremy Gable has retranslated Weiss' original text, then adapted it,
adding rhyming couplets, and he and P. Matthew Park have composed
original music and lyrics...Call me crazy, but by whittling the script
down to size and turning Sade's 'play' about Marat's murder into a
mini-musical, Gable, Park and director Glendele Way-Agle have made
Weiss' work infinitely more provocative. This version slyly adds its
own ideas while retaining a subversive, anti-authority tone, and the
inventive, wildly funny songs are wickedly ironic - something the
Marquis would have been likely to do, and would appreciate
today...Gable's Herald is a nervous sprite ordered by Sade to function
as accompanist, musical director, narrator and stage director of the
Marquis' play...This combination of incisive content and surreal
presentation yields live theater at its best, challenging us to think
critically about the political constructs of our society."
- Eric Marchese, Orange County Register, 05/13/05
"Jeremy Gable's 'translaptation' of Peter Weiss' 1964 agitprop classic
is so effective that one regrets the compression...Gable takes a
ruthless knife to the text while retaining its basics...Other standouts
include Gable's nervous herald."
- David C. Nichols, Los Angeles Times, 05/20/05
ON
PERFORMING IN
"THE LAND SOUTHWARD":
"Just three performers - Jeremy Gable, Kimberly K. Mitchell and Michael
Serna - portray a raft of characters in these scenes; the trio does
yeoman work"
- Eric Marchese, Orange County Register, 04/08/05
ON
WRITING "AMERICAN
WAY":
"Wickedly funny stuff...the last moments of bravado and fear resonate."
- Lynne Heffley, Los Angeles Times 10/08/04
"Jeremy Gable's loopy new play
is driven by an ingenious metaphoric concept...Gable's dark
comedy/fantasy skewers U.S. political issues with up-to-the-minute
relevance while taking a frighteningly resonant look at the volatile
state of international relations...Gable scores a bull's-eye on many
satiric targets, including celebrity worship and the shallowness of pop
culture...Gable's distinctive voice offers great promise. At
its
best, his lacerating piece evokes a tragicomic Kubrick-esque
brilliance."
- Les Spindle, BackStage West, 10/08/04
"A superhero parody with a lot more brewing beneath the surface, Jeremy
Gables new play uses an organization of crime fighters, like the
Justice League of America, as a metaphor for the U.S...His message is
strong but pleasantly balanced with wry jokes about superhero
clichés that testify to the authors expansive knowledge of
the
genre."
- Luis Reyes, L.A. Weekly, 10/15/04
ON
PERFORMING IN "THE
GOG/MAGOG PROJECT":
"Jeremy Gable (in an arrestingly convincing and believable performance
as Gog)...As Gog, Gable may lack the scrawny body, tattoos and track
marks of the stereotypical performance artist, but his wholly honest
and vulnerable performance completely realizes a critical part of this
play: the audience has to be on Gogs side, even if we have no clue as
to where that side starts or ends."
- Joel Beers, OC Weekly, 09/02/04
"Youthful, thin Gable has a boyish face that sometimes breaks into an
impish grin. In his characterization of Gog, there's little that's
subversive or intensely maniacal. The persona he projects is of a
juvenile twentysomething with the kind of vulnerability that arouses
our protective instinct."
- Eric Marchese, Orange County Register, 09/03/04
ON
PERFORMING IN
"ALL IN THE TIMING":
"Especially hilarious is Gable, whose Milton is a 'professional' writer
who prides himself on his impeccable logic."
- Eric Marchese, Orange County Register, 09/19/03
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