THE CHAOS THEORIES - 2007

"Darwin is the only cast member to play just one role throughout. The rest keep popping offstage, only to return in a different outfit (costumes are by Bobby Pearce), signifying a change in character. Co-directed by Dinelaris and Stewart M. Schulman, the production makes each of these shifts clear and the transformations are sometimes so complete that it's not until later when reading your program that you may realize that some of the parts were portrayed by the same actor."

Dan Bacalzo, Theatermania

". . .The Chaos Theories creates brilliant comic dissonance by amplifying the deafening chatter of the self-interested (and self-medicated) and filtering it through the delusional ramblings of a nearby homeless woman. From the ferocious sales pitch of a potty-mouthed stockbroker to the pathetic ramblings of the girl you'd never date, Dinelaris weaves absurd sound bites worthy of Overheard in New York into a bittersweet symphony of postmodern anomie."

Kiwa Iyobe, Flavorpill.com

THE LOST BOYS - 2005

"The Lost Boy", Ronald Gabriel Paolillo's world premiere drama about the creation of "Peter Pan" is an entertaining work in progress. The production, at the Helen Hayes Theatre Company in Nyack through the weekend, also offers a rare chance to participate in the shaping of what could be a worthwhile addition to the American theater repertory. . .The characters are firmly sketched and wonderful acted. . .Director Kimberly Vaughn keeps the action moving.

Bob Heisler, The Journal News (November 1, 2005)

. . ."The Lost Boy," with a few nips and alterations, could be London- or Broadway-bound. . .R. Bruce Connelly as Barrie elicits sympathy without appearing to try, especially when his mother (Roberta Maxwell) coldly devastates the child while he's grief- and guilt-stricken. Jeff Berg bursts with boyish wonder as Peter; Karen Walsh his distaff match as Tinker Bell, Eva Kaminsky's Maureen utterly convinces us of her chaste devotion to Barrie and his art.

Steve Parks, Newsday (November 5, 2005)

THE CHAOS THEORIES - 2004

"Set in a trendy downtown restaurant on a bitter night, Alexander Dinelaris' play unfolds as a series of bitingly funny and sad slices of New York life. The superb actors, under Stewart M. Schulman's crisp direction, zip on and off the stage in multiple roles that include a power-mad film producer, a dotty homeless woman, a vapid movie star, an overbearing father and a comically snippy waiter. The overlapping vignettes, meant to underscore the randomness and emptiness of life, can be downright mean–spirited, but Dinelaris' witty, staccato dialogue keeps you riveted."

Robert Dominguez, New York Daily News (August 27, 2004)

"...The Chaos Theories puts spinning urban life into a capsule where we can digest it piece by piece. The characters we meet remain nameless, suitably anonymous in this virtual setting. Through this microscope, we see the overlap of interactions in the characters’ relationships, where the perceived reality is far from perfect. Stewart M. Schulman directs the show with a sharp edge. The costumes by Wade Laboissonniere and set design by Tema Levine are hip and contemporary. The lighting by Jeffrey Dine is dark, yet sleek. The Chaos Theories is an incredibly enjoyable piece of theatre that captivates us with its strong sense of compelling energy."

David Reinwald, New York Theatre.com

"It was obvious from the get-go that Alexander Dinelaris' Fringe Festival entry, "The Chaos Theories," was going to be a cut above the norm. The upscale New York restaurant setting by Tema Levine and subtle lighting by Jeffrey Dine painted a provocative picture, and the uncredited, unsettling music added to the shadowy ambiance."

While the various encounters inside and outside the restaurant might seem random and unrelated, Dinelaris seems to have a very specific method to his madness. In tune with the script's roller-coaster requirements, director Stewart M. Schulman expertly staged each twist and turn and kept the characters (and viewers as well) in a constant state of suspense."

Elias Stimac, Backstage.com

BIG KIDS - 2004

"This modern show has much humor--some of the one-liners are priceless--while also having a strong heart. It deals poignantly and comically with many issues that most starving artists deal with daily."

Big Kids is both hilarious and heartwarming. There was not a thing to fix in the script, production, direction or acting. The show will speak mostly to starving artists, but it is a brilliant work on art in its own right.

Seth Bisen-Hersh, OOBR.com (July 2004)

TRISTAN UND ISOLDE - 2004

"The quality of the concert was world-caliber. Tenor Marc Deaton and soprano Susan Marie Pierson were ideally suited for their roles both vocally and visually. Deaton brought heroic power and great lyricism to Tristan, capturing the character's tragic consequences with great strength and vocal beauty. . . Pierson sang with a gloriously round, supple tone, providing an Isolde of majesty and, ultimately, pathos. The Orchestra, conducted by Glen Cortese, played stirringly throughout."

AmCham, Bulgaria Magazine (March 2004)

SEDUCTION - 2000

"Seduction", a dance-opera presented on Wednesday night at Marymount Manhattan Theater, is the child of "Contact" and "Follies." But the performing is so good and the staging so sleek that it all seems fresh again.

Jennifer Dunning, The New York Times

MIA MICHAELS' R.A.W. - 1999

"The greatest pleasure of the program presented by MIA Michaels' R.A.W....was the go-for-broke physicality of the choreography and it's lack of assumption."

Jennifer Dunning, The New York Times