Purchase Tickets

Press

Act A Lady

Madcap and anarchic, but always under control… under director Juanita Rockwell, Iron Crow’s Lady is a finely honed actors’ showcase.”  -Baltimore City Paper

…known for edgy repertoire… and adult content, [Iron Crow] seems to be having a ball going the PG route this time…  Juanita Rockwell directs the Iron Crow staging with a sure touch, aided by Daniel Ettinger’s charmingly old-fashioned and easily shifted scenery. Julie Heneghan’s costumes deliver the drag in vibrant style.  -The Baltimore Sun

Directed by Juanita Rockwell, this nearly laugh-a-minute comedy is not only a hilarious ride but uniquely thought-provoking  -DC Metro Arts

… a story that resonates across the globe  -BroadwayWorld.Com

Slipping

Iron Crow’s artistic director Steven J. Satta tightly helmed the Baltimore offering (of Slipping) and did so with his usual expertise and meticulous attention to detail. Aided by a strong cast and technical crew, Slipping portrays the angst that most teenagers feel as they grow up especially in matters of the heart.-OUTloud

(Iron Crow’s) Slipping is an enthralling piece of theatre not to be missed; a reminder that hope is out there and that it does get better.  -DC Metro Theatre Arts

Iron Crow has given this tale of young dreams and disappointments an impressive production at the Baltimore Theatre Project, fluidly directed by Steven J. Satta and designed by Daniel Ettinger.  - The Baltimore Sun

a vivid and bracing production  – WYPR

powerfully written and gorgeously acted – Baltimore City Paper

Bad Panda

5 stars… Bad Panda is a unique and exciting adventure into the animal kingdom… No school field trip to the zoo was ever this entertaining or self-discovering and this show will touch your heart on a warm and fuzzy level as these characters strive to find happiness, love, acceptance, and normalcy in their wildly amusing lives. – DC Metro Theatre Arts

Iron Crow Theatre Company’s Bad Panda (directed by Ritsch) offers nonstop hilarity and sweet introspection… Playwright Megan Gogerty’s smart, witty script should be lauded… The world premiere is beautifully executed and pure pleasure for the audience as it’s invited along on a joyous jaunt through the zoological park. – Broadwayworld.com

Iron Crow bills Bad Panda as a “sweet celebration of non-traditional families”. It is that and more. It is fresh, cute, expertly-acted, well-directed, and despite the characters being animals, very human… the force of Ritsch’s directing talents, and the actors’ skills take Gogerty’s clever plot and run with it. The performers interact with each other so effectively and so amusingly that it is a lovely fulfilling experience. – Maryland Theatre Guide

The Typographer’s Dream

Adam Bock’s The Typographer’s Dream—the final installment of the 2011-2012 season…is a smart, funny and unique theatrical experience that is masterful in its simplicity and clever in its use of language. – MD Theatre Guide

The cast’s acting is fluid, seemingly effortless, impressively even and a joy to watch: believably, sincerely emotional without being melodramatic; delightfully funny at times…A beautiful, stripped-down foray into quasi-existentialism, The Typographer’s Dream allows the audience simultaneously to escape and to examine their own dreams and realities. – Broadwayworld.com

Engaging…Intriguing…enjoyable, thanks to the strong performances of Sarah Ford Gorman, Jenny Male, and Steven J. Satta-Fleming as the Typographer, the Geographer, and the Stenographer respectively. – Chesapeake Taste

5 stars…When the three (actors) interact there is a fluid harmony that occurs – the words – be them shouted during intense moments of conflict – or whispered during moments of confession— or casually exchanged; they become the body and driving force of the play. Gorman, Male, and Satta-Fleming make the perfect trio to transport this notion from its captured essence on the page to lasting eternity in the eyes of
the viewer. – DC Metro Theatre Arts

Absorbing…Imaginative…Freshly relevant…fueled by linguistic vibrancy – The Baltimore Sun

Voted BEST NEW FACE ON THE THEATRE SCENE by Baltimore City Paper

Parallel Lives – Based on the Kathy and Mo show

Iron Crow Theatre Company’s new production … proves that Parallel Lives does indeed have life -and laughter … Just seeing mock performance art at Theatre Project – Baltimore’s performance art mecca – is funny in itself. – J. Wynn Rousuck, WYPR

Simmons-Barth and Minnick – the former often deadpan, the latter more prone to physical comedy – own the stage, using props and their allotted space with a practiced economy … (they) maintain a winning chemistry throughout. The result is a hilarious, thought-provoking production. – Andrea Appleton, Baltimore City Paper

Love and Human Remains

The theater company’s name, “Iron Crow”, refers, in part, to crowbars intended to – quote – “pry open hearts and minds.” Judging from Iron Crow’s take on “Love and Human Remains,” this young troupe is well on its way. – J. Wynn Rousuck, WYPR

Anyone who sees the excellent new production by Iron Crow Theatre Company, among the more recent arrivals to the Baltimore theatre scene, will likely come away impressed…Iron Crow’s production succeeds because it fills Fraser’s apparitions with warm flesh and beating hearts. – Brent Englar, Broadwayworld.com

Satta brings an endearingly light touch to David for as long as the script allows, and his haunted eyes and powerful frame prove great assets when unexpected revelations force David to take a stand. He and Minnick 9as Candy) mine plenty of humor from their scenes together, but also deep reserves of feeling; we believe David and Candy share a rich history, such that each is now the most important person in the other’s life. – Brent Englar, Broadwayworld.com

The play’s driving forces come entirely from the cast. Zargarbashi, plays off his conventional handsomeness as Robert …Gahan has a field day as Jerri, …Airey does a nice job with Kane,…and Solomon handles the problematic Benita with a durable grace, imbuing this at times one-dimensional character with a needed vulnerability to counterbalance the superficial sex appeal…as the plays focuses primarily on David and Candy, and Satta and Minnick are top notch. They not only get some of the best lines, but their casual delivery and needling intimacy lends the sense of two people who know way too much about each other but also can’t live without each other. Satta, especially, has the acidic bite in Fraser’s dialogue down pat, and when David decides to use words as weapons, they never miss their mark. Minnick, meanwhile, pulls off more in mere reactions: When Candy finds herself in a room with Jerri and Robert, Minnick’s face and posture alone convey a mortification that no dialogue line ever could. – Bret MaCabe, Baltimore City Paper

Elliott (as Bernie) and Solomon (as Benita) both give captivating performances, though in entirely different keys: Bernie spirals ever deeper into psychopathy, while Benita remains formidably self-possessed—their one scene together pulses with the threat of a deadly collision. But the finest performance may belong to Airey (as Kane), who grows before our eyes into a pillar of strength at the moment David (played by Satta) most needs one. – Brent Englar, Broadwayworld.com

Director Joseph Ritsch uses the space at the Swirnow Theater to emphasize the separate, hard-to-connect worlds of the characters… Steven J. Satta gets across David’s glib, bitchy personality neatly. Michele Minnick offers a good deal of nuance as Candy, especially as the plot sickens… Ryan Airey does a winning job in the role of the naive, slowly awakening Kane…there is vibrant work from Erin Gahan (Jerri) and Christopher H. Zargarbashi (Robert)…Tim Elliot captures the manic personality of Bernie with sufficient flair…Katie O. Solomon, decked out in Victoria’s Secret-like regalia, makes a colorful Benita…
Conor Mulligan’s lighting adds considerably to the visual effectiveness of the production, while Michael Perrie’s music does the same for the aural. – Tim Smith, Baltimore Sun

(Director Joseph Ritsch’s) Stylized, simple, and evocative staging, performed by a carefully choreographed cast, makes this a memorably disturbing production. – J Wynn Rousuck, WYPR

Swimming in the Shallows

Touching…Entertaining…What’s so appealing about Iron Crow’s Shallows is how giddily normal this ludicrous idea feels, thanks to the cast handling Bock’s ingenious mix of the sincere and ridiculous…Crighton and Joy make Donna and Carla Carla’s antics feel real and infuriating…Wissman does a fabulous job of navigating Nick’s mix of coy flirtatiousness and needy vulnerability…Weber’s Barb really hits the emotional sweet spot.(As She) manages to make Barb’s journey from skittish naiveté to inner strength comically disarming…Director Michele Minnick makes the minimal most out of playwright Adam Bock’s Swimming in the Shallows. – Tim Smith, Baltimore City Paper

Apartment 213

Surprising and dynamic, Apartment 213, named after Dahmer’s infamous abode, bravely ventures into a closeness with its characters and its audience. The result is both strangely satisfying and wholly unsettling…a strange beginning, one that may cast doubt into the minds of more conservative theatergoers, but just before it borders on uncomfortable, Ritsch’s Dahmer comes to life and explains himself. The rest of the play is similar, pushing the audience to the edge of confused disquiet just before a revelation. – Laura Dattaro, Baltimore City Paper, 11/10/2010

Unexpected…surreal…Joseph W. Ritsch, co-founder of the recently formed Iron Crow Theatre, has attempted to peer into that psyche (of Jeffrey Dahmer). His new play, “Apartment 213,” is an absorbing, entirely satisfying work…Ritsch gives a compelling performance as Jeff, with a vacant look and a flat voice repeatedly intoning a pickup line…Will Manning is equally effective as the Victim, registering the unimaginable progression from charmed to terrorized. – Tim Smith, The Baltimore Sun, 11/11/2010

Apartment 213 skirts the edges of moral and emotional paralysis. Ritsch’s portrayal of Dahmer is only punctuated by violence; for the large part of this play he is staring at himself as if he was an exotic but inaccessible, pufferfish (in a tank) himself…Ritsch’s attitude is worn, worried, and uncomprehending, linked to his audience by a strange fascination both with his victims and with his own impulses… Theater of the fishtank: endlessly fascinating and visually striking, but separated by an elaborate filtration system and a transparent, but uncrossable, barrier. The closer we get to the action, the further we are from the world of responsibility or empathy. – John Barry, Radar Redux, 11/12/2010

Hedwig and the Angry Inch

Iron Crow has probably the best version (of Hedwig and the Angry Inch) I have seen…Steve Satta has worked a couple of miracles with his vision and under Satta’s direction the character becomes more focused with a more satisfying ending of self realization and a sense of moving on….Sarah Lynn Taylor brings a lot to the less flashy role of Yatzhak, seemingly a bystander and hanger-on he is truly a catalyst in the redemption of the singer…Joseph Ritsch plays the titular role to the hilt. He brings more humanity to the disaster known as Hedwig so the redemption is a much more powerful event. Full of energy, vocally competent Ritsch is impressive. – Ben Ryland, OUTLOUD