Praise for Oh My God!

Karina Palmitesta and Sarah Wilson. Photo by Christine Quintana, on location at St Pauls Anglican Church

“This play was simple, and simply superb. The actors (Karina Palmitesta and Sarah ‘Tich’ Wilson) and direction were both spot-on; the writing of Josephine Mitchell is genuine and rich without any sense of effort.  I recognized these girls, even though I’d never been them, because the few hours shown in their life were real – the story had heart. And, genuine heart, shared in well-crafted live theatre, is never boring. When a playwright, actors and all the people behind the scenes create a show which is true in the way this one is, it is a delight to do our part of being the audience.

If you are looking for something fresh, a play which only a Fringe Festival can make room for and which totally deserves its space on the roster, this could be it. Whatever subtle brainwashing the noisy, stereotype-filled, predictable stories of our modern “culture” have done to our expectations, “Oh My God!” simply wipes it away with a small vignette – two girls’ story of that time they were locked in the chapel, which is also the story of how friendship makes all the difference in getting through the hard days.”

Kyira Korrigan, September 12 2011, Plank Magazine

Praise for PARKED: an indie rock musical for novelty instruments

Brian Cochrane and Britt McLeod

” This collection of musical numbers begins with a woman rhythmically clinking her keys and singing, “Where is my fucking car?” The women in this ensemble are especially strong singers. Talent! Yay! And the lyrics are often clever. At one point, a lovesick young office worker warbles, “He’s in distribution/I’m in incoming/I file away my feelings when I see him.’”  – Colin Thomas, June 13, 2011, Georgia Straight

“Along with Exhibit A, the best of the bunch is Delinquent Theatre’s Parked: An Indie Rock Musical with Novelty Instruments, which begins with a woman, alone on the sixth floor of a parkade, singing “Where is the f—– car?”—a dilemma to which we can all relate. Seven performers sing and play musical instruments—including a ukulele and a kazoo—as the story moves from the lost vehicle to an office would-be romance and the possibly “off-ing” of the bitchy office supervisor. (There’s that violence again. But they settle for putting sugar in her coffee.) The music, the fresh harmonies and the lyrics are terrific. Keep your eye on Delinquent Theatre.”

Jo Ledingham, June 21 2011, Vancouver Courier.

Praise for Spring Awakening

From left: Wendla (Tich Wilson), Moritz (Chris Cook), Melchior (Alexander Keurvorst). Photo by Brendan Albano.

This production of Frank Wedekind’s Spring Awakening runs two-and-a-half hours. But don’t worry. For most of that time, it feels like you’re making love—with a robust, openhearted, and complex partner.”

“Tich Wilson is especially strong as Wendla…  Chris Cook is also compelling as Moritz…  Alexander Keurvorst does a fine job with Melchior’s intelligence and defiance. And Veronica Campbell brings leavening warmth and maturity to Melchior’s mother, the only fully sympathetic adult in the play.”

– Colin Thomas, July 24, 2009 Georgia Straight

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