48 Hills: “Global artists tackle an epic year in ‘Hindsight 2020’”

The press has a few things to say about Those Women:

Lily Janiak of the SF Chronicle, in a Datebook feature on Witch Hunt: “‘Witch Hunt’ gives Tituba hopes and fears, virtues and flaws. It gives her goals, and it makes her strategic in pursuit of them. In short, it makes Tituba a person.”

“‘Witch Hunt’ is an important and timely production,” writes Jordan Freed in Theatrius. 

Carol S. Lashof on the founding of Those Women Productions and the process of writing Witch Hunt, in the magazine 48Hills: “’We were frustrated trying to get our stories made, so rather than rant and rave we started making our own theater.’”

Fritz Mad’Laine writes of Witch Hunt in Theatrius: “The question of how to tell an unrecorded story plagues artists and historians alike. At Salem’s notorious trials, Tituba was the first to confess to practicing witchcraft—but we know little else about her. In Arthur Miller’s classic “The Crucible,” she appears as a victim of the pilgrims’ manipulation, but Lashof portrays her as the master of her own fate.”

“[Carol and I] have the same feeling that we want our audiences to take away. And her job is to convey that feeling on the page, and my job is to stand that feeling up and put it into action.” – Director Elizabeth Vega on collaboration with Lashof for Witch Hunt, in an interview with KPFA.

“You think about how much you think you know…I was mind-blown as to [Tituba’s] story’” – Witch Hunt actor Renee Rogoff on playing Tituba, interviewed on KPOO. 

“Most of what’s in popular [on the Salem witch paniic] is a gross distortion of the historical record,” says playwright Carol S. Lashof of her new play Witch Hunt, in an interview on KALW.

Lily Janiak lists UNQUESTIONED INTEGRITY as a Datebook Pick in the San Francisco Chronicle: “Those Women Productions offers a chance to account for how much or how little we’ve progressed since [since the Anita Hill-Clarence Thomas hearings] in 1991.”

“Marisela Treviño Orta conjures [a] supernatural border,” writes Carly Van Liere in Theatrius’s review of WOMAN ON FIRE.

Lily Janiak of the San Francisco Chronicle profiles our West Coast premiere of WOMAN ON FIRE and interviews playwright Marisela Treviño Orta: “Everything that happens along the border, it’s all connected.…The border is something that we have to grapple with as a society.”

“‘SHIFTING SPACES’ is so much more than an excellent feminist perspective on self image and determination…Characters transcend the stage, touchingly, as they search for and discover new identities,” writes Owen Brunell in Theatrius.

“Shakespeare would have been proud to see his work take on new life in MARGARET OF ANJOU,” says The Daily Californian.

Lily Janiak of the San Francisco Chronicle profiles Artistic Director Libby Vega: ““There can be a tendency to say, ‘If their stories were interesting, we would know them already.’” But, Vega continues, “just because the story’s not being told doesn’t mean the story’s not there.'”

About MARGARET OF ANJOU, Sam Hurwitt of The Mercury News writes: “the experiment of creating the illusion of a Shakespeare play all about Margaret is a success.”

Berkeleyside features Those Women Productions: “Carol Lashof and Libby Vega aren’t ashamed to reveal their infatuations with the “dead white guys” who populate the Western Canon.”

BEST OF THE EAST BAY: On the occasion of our first birthday in 2015, The East Bay Express named us “Best Year-Old Theater Company.”

Theater critic Sam Hurwitt described our production of IN PLAIN SIGHT as “a provocative mix of voices and perspectives on these classic tales that may inspire the viewer to look back at the originals with new eyes.”

The Dramatist Magazine lauds Those Women for joining the fight for gender parity, “turn[ing] patriarchy on its ear.”

Our production of DISCLOSURE was highlighted in the San Francisco Chronicle’s feature on the “hot SF scene” at PianoFight.

About our inaugural production in 2014, the Daily Californian wrote: “JUST DESERTS is offering something surprisingly new, and drawing a new audience. It is absolutely worth seeing, with or without a grasp of Greek mythology. This play works on multiple levels, and satisfies as diverse an audience as it attracts.”

JUST DESERTS was also an Editor’s Pick of Theatre Bay Area Magazine, where critic Lily Janiak wrote, “Lashof ingeniously channels both what many treasure about Greek mythology–its pitting of evenly matched foes in debates that dig deeper and deeper as combatants seem to be going in circles–while also skewering its misogyny.”