Movin’ On Up

For those with more questions than answers, Movin’ On Up offers an unexpected glimmer of existential hope. The end of the show leaves a more hopeful taste in your mouth than it might otherwise. It’s certainly not the dark, trivial romp that one might expect from a show that self-identifies with that old nihilistic performance tradition.”

—Piper Rasmussen, Theatre Is Easy


“Witty, absurd, and unexpectedly endearing. Christian Amato dons the director hat and his minimalist staging helps the sincerity of the piece come through in full-freeing force. Movin’ On Up is a short, fun romp of a good time. You’ll come for the laughs, stay for the characters.

—MR Anderson, TheatrePizzazz


The Mystery of Irma Vep

“The direction by Christian Amato is pure genius. Our highest recommendation. A hilarious farce miraculously mashing-up Shakespeare, Hitchcock, and Brontë among others, wondrously performed by a superlatively-talented duo. Be afraid … be very afraid – you may do yourself injury as you roll your eyes at the outrageous allusions, and laugh til it hurts in the back of your neck.”

—Ronald Gross, New York Theater Buying Guide


The Two Gentlemen of Verona

“Innovative, music-heavy interpretations of the Bard. The TP&co players deliver able performances in a crisp 90-minute version that captures the comedy's humor while avoiding its bothersome conclusion. This Two Gents is set on keeping things fun and upbeat.”

—Pete Hempstead, TheaterMania


The Taming of the Shrew

“While Shrew is one of those plays over-analyzed ad infinitum because of its coarse misogyny, it’s also an absolute lark, and that’s exactly how Shakespeare Off-Broadway handles it. While the counterpoint between Petruchio’s often harsh dominance of Kate and the levity of the rest of the play is often used to create tension, Amato keeps the entire production light, playing their interactions for laughs.By the simplest of measurements this Shrew was an unmitigated success. In Shakespeare’s time as well as ours the gauge of a good comedy is a laughing audience, and this production of The Taming of the Shrew provides more than its share. It opens with an ensemble-performed song and ends with one as well, along with an Elizabethan-inspired dance, a gesture that reminds us not only of the play’s origins, but of its purpose: to provide a theater full of people with an entertaining departure from our daily lives.”

—JK Clarke, TheaterPizzazz


“Directed by Christian Amato, this Taming of the Shrew is a surprisingly adept interpretation of a typically problematic piece, navigating the inherent sexism quite well, presenting Kate and Petruchio as each other’s equals without reimagining or heavily adapting the text. This production thus manages to undercut the play's major flaws. Because of this, this Shrew is actually an admirable production, which entertains without requiring the audience to accept or overlook the sexism.”

—Alison Durkee, StageBuddy


Twelfth Night

“Shakespeare Off-Broadway’s production is exactly what one wants from a Twelfth Night: fun and laughs with a succinct, clever delivery. Director Christian Amato has created a vaudevillian play with even the most severe characters more comical than dour.”

—JK Clarke, TheaterPizzazz


“The story unfolds clearly and cleanly, notably the clarity and accessibility of the story.”

—Roark Littlefield, StageBuddy



“This production sets the story of the would-be king during Prohibition, complete with period costumes and Art Deco-inspired scenery. Director Christian Amato plays fast and loose with the text, cutting lines copiously and setting passages to music. There's more booze guzzled than blood spilled here, and more laughs than Shakespeare intended. Purists may balk at that sort of thing, but there's no arguing that, even with its hit-and-miss humor, this production gives the play a fresh, colorful energy. It ain't your grandfather's Shakespeare, but he'd probably wish it had been.”

—Pete Hempstead, TheaterMania


Much Ado About Nothing

“Director Christian Amato’s Messina is the modern South, rendered beautifully and hilariously in smoldering tempestuous Southern Style. Mr. Amato’s direction is gracious and fluid. He manages to unfold the complex plot with a delightful and pleasing clarity. Last October, Mr. Amato’s company presented a rollicking rendition of A Midsummer Night’s Dream, recreating anew the spirit of Charles Ludlum’s Ridiculous Theatrical Company. That play, with its supernatural setting and its sprites and fairies, lent itself well to such over-the-top hilarious bombast. Much Ado About Nothing lacks that supernatural element, but the humor in the current production is lustrous with a more gentle whimsy, yet is no less hilarious than Mr. Amato’s previous production. The spirited, energetic, and talented young cast moves easily in this genteel South. It bubbles under with lunacy, passion, and chicanery. The value of any production is in its ability to move the viewer beyond the humdrum of our daily grind--to allow a greater sense of human possibilities. Undoubtedly, The Theater Project and its Producing Artistic Director, Christian Amato, produce plays that embody such values.”

— Jay Reisberg, Culture Catch


A Midsummer Night’s Dream

“Christian Amato's direction of A Midsummer Night’s Dream displays that he posses a comedic theatrical maturity far beyond what one might expect for a twenty-five year old director. Mr. Amato so accurately channeled the spirit of the 70's theater of John Vaccaro, Ron Tavel, and Charles Ludlum that upon leaving the theater I expected to be transported back to that raucous and innovative era, one in which the energy of The Village reflected the hoopla we were witnessing on stage. Mr. Amato in his hilarious production, has recreated anew and in a contemporary context that which made devoted audiences keep returning for more works by the creators of the “ridiculous” mode in New York theater. Drawing upon his theatrical forbearers and with ample helpings of vaudeville, burlesque humor, obvious trashy drag, as well as classic Shakespearian sensibility, Mr. Amato and his an energized ensemble fashioned an astoundingly fresh and entertaining production of what in other hands could have been just another rendition of a well-trod play. The eleven actors execute their parts in a manner which I would call pristine in that such comic performances were that: hilarious and not derivative of stand-up, or the weak-kneed "cute" of sitcoms -- no pretense, just great character humor.”

— Jay Reisberg, Culture Catch



“I had a blast at Barbicide, really enjoying the craft of Pomposello’s script and the expertise of Amato’s cast. Whether or not this is your first encounter with Sweeney Todd AKA Toddesco, there will be plenty to ignite the giddy impulse we all share to get spooked.”

— BooYork


“I have been a huge Arthur Aulisi fan for more than a decade now, but I’ve never seen him have the opportunity to show as much range and depth as he gets here in Barbicide. It’s a magisterial performance by one of indie theater’ great unsung heroes, and I hope a lot of people will get a chance to see it. Pomposello’s language in this play is gorgeous—vivid and imagistic, but entirely true to the earthy Italian Americans who populate the tale.”

— Martin Denton,


Non-Equity The Musical

“Non-Equity is a delight. All fine, either singly or together as they chart the harmonious territory with the able direction of Christian Amato and choreography by Sam Doblick.”

— Oscar E. More


“Trzcinski and Director Christian Amato have assembled quite a talented cast of performers. The ensemble as a whole seems to be having a blast showing off their chops and there are certainly some stand-outs.”

— Kristin Skye Hoffmann,


Tico Tails

“The purpose of the production, of course, is to expose children to Costa Rican culture, and in this it succeeds admirably. The narration is educational, the performances are energetic, and the music is truly fantastic, making this as good a way as any to take in a social studies lesson with the whole familia.”

— Lindsey Garland, TimeOut NY


Alice in Wonderland

“Translating that celebratory chaos to the stage isn’t easy, but Literally Alive’s musical “Alice in Wonderland,” plays its cards cleverly. Designed and directed by Christian Amato, this “Alice” dazzles the eye. And the ear.”

— Laurel Graeber, The New York Times


“This clever but not over-the-top rendition manages to juxtapose Victorian England’s structured sensibilities with a smart and imaginative dream-child’s compulsion to explore one big, fat, crazy cosmos.”

— NYmetroParents



“Directed by Christian Amato and written by Sean Pomposello, B*tch is a simple story on the surface but then unfolds into the multiple layers that are widely identifiable. The show has a unique richness for an off, off Broadway show. It’s well worth a trip to the West Village.”

— Lisa DiCarlucci, Downtown Magazine


“The most notable attributes of B*tch are the chemistry of the cast and the fresh and proficient production team. The writer and director share an intuitive rapport. Amidst a sea of tired scriptwriters, B*tch bespoke revival. Pomposello shows dexterity, particularly with his balance of the Mametian perspective. At 24 years old Amato’s directorial adeptness is already making an impressive impact on indie theatre. Amato immaculately complements Pomposello, directing B*tch with beauty and balance. ”

— Hannah Agatston, Charged.FM



By Grace A. Capobianco, Downtown Magazine