PRESS
Marry Me A Little
International City Theatre
By Steven Stanley - Stage Scene LA - February 13, 2022
Click Here for Full Review
"All of this adds up to hour of Sondheim magic made even more magical thanks to Kari Hayter's as always inspired direction..."
"Throughout is all, director Hayter finds even more ingenious ways for these two characters to share separate spaces together..."
“ENTERTAINING AND CHARMING…a musical necklace which will delight Sondheim fans everywhere… the voices are heavenly… a feast for the eyes and ears.” — Elaine Mura, Splash Magazines
“MUSICAL MAGIC… emotionally moving… a tour-de-force tour of Sondheim numbers performed by an excellent cast.” — Anita Harris, Signal Tribune
“ENJOYABLE… engaging performances.” — Sean McMullen, Grunion Gazette/ Press Telegram
“A SPARKLING NEW PRODUCTION” — Rob Stevens, Haines His Way
“SUBLIME… PLAYFULNESS AND ROMANCE… go[es] straight to our hearts.” — Joe Mosqueda, Glamical
“DELIGHTFUL… a potpourri of engaging tunes brought vividly to life.” — Paul Myrvold, Theatre Notes
“BITTERSWEEET… the type of high caliber entertainment for which ICT has a reputation for delivering — Ernest Kearney, The Tvolution
ONCE - The Musical
3-D Theatricals - Cerritos Center for the Performing Arts
By Leo Buck - Bucking Trends - October 18, 2019
Click Here for Full Review
"To risk speaking in any potentially ‘sexist’ generalities, Ms. Hayter was irrefutably the best directing choice for this piece bar none. It requires a wise feminine hand, and strong feminine insights, to be realized the very best way possible; for although it involves one broken man’s redemption and revitalization, it’s the determined woman behind him who’s driving the action and making all of it happen."
By Dany Margolies - OC Register - October 16, 2019
Click Here for Full Review
"Additionally, the stage revolves, and Kari Hayter masterfully directs the production so that we don’t always notice the revolving but we always sense we’re getting different points of view, visually and narratively. Indeed, sometimes feel we’re seeing a close-up, as in a film."
By Steven Stanley - Stage Scene LA - October 12, 2019
Click Here for Full Review
"If you haven’t seen the Tony-winning Best Musical of 2012 restaged in the round by the brilliantly inventive Kari Hayter for 3-D Theatricals, you haven’t yet experienced the full musical-theater wonder that is Once."
VOYAGE LA MAGAZINE
Meet Kari Hayter - Hidden Gem - October 2, 2019
Click Here for Full Article
THE VANDAL
Chance Theatre - Bette Aitken Theater Arts Center - Fyda-Mar Stage
By Chris Daniels - www.theshowreport.com - October 7, 2019
Click Here for Full Review
By Rob Stevens - www.haineshisway.com - October 7, 2019
Click Here for Full Review
By Daryl H. Miller - Los Angeles Times - October 4, 2019
Click Here for Full Review
By Christopher Smith - OC Register - September 29, 2019
Click Here for Full Review
By Steven Stanley - Stage Scene LA - September 27, 2019
Click Here for Full Review
VIOLET
Chance Theatre - Bette Aitken Theater Arts Center - Cripe Stage
OVATION RECOMMENDED 2018
LOS ANGELES TIMES CRITICS' CHOICE 2018
By Matt Cooper - Los Angeles Times - February 18, 2018
Click Here for Full Review
By Daryl H. Miller - Los Angeles Times - February 16, 2018
Click Here for Full Review
OC Registry - February 13, 2018
Click Here for Full Review
Broadway World Los Angeles - By: Michael Quintos - February 15, 2018
Click Here for Full Review
Stage Scene LA - By: Steven Stanley - February 12, 2018
Click Here for Full Review
PARADE
Chance Theatre - Bette Aitken Theater Arts Center - Cripe Stage
28th Annual LA Stage Alliance Ovation Award Nomination
Best Musical
Best Direction of a Musical
OVATION RECOMMENED 2017
LOS ANGELES TIMES CRITICS' CHOICE 2017
By Daryl H. Miller - Los Angeles Times - July 16, 2017
Click Here for Full Review
"Director Kari Hayter and a committed cast deliver a fluid, coiled production that shakes the audience to its core."
---
By Daryl H. Miller - Los Angeles Times - July 13, 2017
Click Here for Full Review
"This visually arresting, emotionally potent production is hard to shake off afterward."
"This is the tale not of one man, but of a society, which director-choreographer Kari Hayter subtly underscores by keeping the cast close at hand to, literally, set the stage for each new development in the story by precisely rearranging the minimal scenic elements — a collection of chairs and small tables — on the raw-plank playing area."
"Richly evocative throughout, Hayter’s staging...delivers its defining image just moments from the end, when two characters, forever linked by tragedy, somberly exit the story side by side."
---
By Tony Frankel - Los Angeles Theater Review - July 26, 2017
Click Here for Full Review
"The title sardonically refers to the Memorial Day Parade that was backdrop to a civic disgrace fueled by fear, ignorance and scapegoating. If it sounds depressing it’s not, especially given Chance Theater’s terrific revival, bolstered by Kari Hayter’s choreographically brilliant direction..."
---
By Eric Marchese - Orange County Register - July 12, 2017
Click Here for Full Review
"Broadway-style productions of the show strive for large-scale treatments complete with sets and special effects. Chance Theater’s intimate version brings the tragic story of Leo Frank up close and personal – too close for comfort, some might say with regard to director Kari Hayter’s staging."
"And while Chance’s production is by no means small in scale, its stripping away of theatrical window dressing proves that the show’s power lies in handling it as a chamber musical. Nothing in Hayter’s heart-wrenching staging separates us from the characters and their words and actions, and her choreography..."
---
By Leo Buck, www.buckingtrends.me - July 12, 2017
Click Here for Full Review
"While admittedly, not a show for those who prefer that their musical entertainments promote more ‘light-hearted’ and easily-digested sentiments like “Falling In Love Is Wonderful” or “The Sun Will Come Out Tomorrow”, for mature theater enthusiasts who yearn for thoroughly compelling, thought-provoking fare, “The Chance Theater’s ’ latest is well worth the trip to Anaheim.
Be warned though, once seen, the story that unfolds can never be forgotten (–nor should it be!) Hayter’s direction and tone finds great sophistication in mere simplicity—gaining quite innovative results with virtually no set-pieces, save for a few chairs and even a scant fewer props. She also astutely resists any temptation to further sensationalize the on-stage happenings (—this story is sensational enough!) Even the production’s most critical scene is enacted with refreshing tact—preferring “suggestion” and “symbolism” over anything overtly graphic or shocking (thankfully too, they don’t even show a noose!) It could be argued also that the real power in Hayter’s direction lies in how she maintains a tight focus on the characters while keeping one scene (including the “fantasy” and “flashback’ sequences) constantly flowing forward at a rather swift pace. This in itself pays off big time—after all, it’s a humongous plot with so much happening in such a relatively short period. Little wonder that at times, the show can actually give the illusion of being completely sung though; it isn’t of course, allowing for brief sections of Uhry’s award-winning dialogue, but thanks to the Director’s perceptive stewardship over the material–and the significant talents of her actors, it all seems to fly incredibly by.
As Choreographer, she similarly succeeds inserting moments of dance to lighten the mood as needed, and cleverly incorporates dance and movement into many sections where you might not readily expect them. This also goes a long way to lighten such a doleful tale, as with the almost-playful “Musical Chairs” maneuvers witnessed in the course of Leo’s jazzy “Come Up To My Office” sequence.
To top it off, Hayter definitely knows (and utilizes) the various dances of the age, such as seen at the conclusion of Act One, once Leo has been found guilty, as the crowd bursts into a celebratory “cake-walk” as part of “The Verdict”; this then morphs into a more rhythmic traditional Jewish folk dance something akin to “The Hora”. Subsequently, at a garden party held at the Governor’s mansion in Act Two, the Governor and his wife lead their guests in an old-fashioned “One Step”/”Foxtrot” during their “Pretty Music” number."
---
By Steven Stanley, www.stagescenela.com - July 7, 2017
Click Here for Full Review
Director-choreographer Kari Hayter takes the Best Musical Tony winner Parade and reconceives it so stunningly, even those who’ve already seen the Jason Robert Brown-Alfred Uhry gut-puncher will feel they are experiencing it anew on the Chance Theater stage.
Hayter’s striking new vision for Parade is evident from the get-go in a scenic design that eschews realistic sets for a nearly bare hardwood-floored stage, with only a dozen or so straight-back wooden chairs and a few tables brought on and off in various numbers and configurations, a Fred Kinney design whose surrealism fits Leo’s nightmare dilemma to perfection, and never more so than in Hayter’s staging of the extended courtroom sequence that ends Act One.
As each new witness takes the stand, the seating arrangement changes, a visually stunning series of altered perspectives that compound Leo’s steadily darkening horrors, with Hayter’s stylized choreography adding to the production’s electric impact, in particular when prosecutor Hugh Dorsey interrogates a trio of young factory girls who testify under oath that Leo had invited Mary to “Come Up To My Office,” incriminating evidence accompanied by a nightmare fantasy depiction of the sex fiend the townsfolk of Marietta believe Leo to be.
URINETOWN The Musical
Coeurage Theatre Company - Lankershim Arts Center
28th Annual LA Stage Alliance Ovation Award Nomination
Best Direction of a Musical
OVATION Recommended & Extended
Nominated Los Angeles Drama Critics Circle Award in Excellence for 2016 - Direction, Production, Musical Direction, Lighting
_____________________
Click on the links below for reviews
Los Angeles Times - By: Philip Brandes - January 3, 2017
Broadway World - Los Angeles - By: Don Grigware - November 28, 2016
Theatre in LA - By: Les Spindle - November 8, 2016
Stage Raw - By: Paul Birchall
HAIRSPRAY
Chance Theatre - Bette Aitken Theater Arts Center - Cripe Stage
By Michael L. Quints, Broadway World, July 27, 2015
“Leave it to now frequent Chance Theater director Kari Hayter --- a proven, smart expert at taking large musicals and scaling them down snuggly into a smaller footprint --- to once again take the reigns and reinvent how a Change Theater production is presented.”
By Eric Marchese, Orange County Register, July 24, 2015
“Hayter’s staging overcomes the limited amount of performance acreage, often ingeniously so.”
By Zach Johnston, The Orange Curtain Review, July 28, 2015
“Each performer in this production, directed by Kari Hayter, brings a delightful energy to the stage with excellent comedic timing, powerful vocals and impressive choreography”
By Buck-ing Trends, July 20, 2015
“Director Kari Hayter makes full use of “The Chance’s” ample auditorium, in essence casting the viewers as the ‘studio audience’ for “The Corny Collins Show” and all the related goings-on. This makes for a livelier, more ‘immersive’ experience, thus a more satisfying one as well. What’s more, she keeps the pace surprisingly quick without sacrificing any significant comic or ‘message’ moments the show boasts.”
By Steven Stanley, StageSceneLA, July 20, 2015
“Chance Theater reinvents Hairspray --- and brilliantly so --- for an immersive, intimate, (almost) in-the-round revival unlike any I've seen before."
BLOODY BLOODY ANDREW JACKSON
Chance Theatre - Bette Aitken Theater Arts Center - Cripe Stage
(LA Times Critics Pick, Ovation Recommended)
By David C. Nichols, LA Times, July 17, 2013
“Director Kari Hayter maintains a taut balance between satirical snark and sober intent…”
Eric Marchese, Orange County Register, July 14, 2013
“From the get-go, director Kari Hayter's staging is a raucous, freewheeling affair… With skill and finesse, Hayter and company capitalize on the show's inherently satirical tone.”
Steven Stanley, StageSceneLA, July 10, 2013
“Director Hayter and company set Bloody Bloody Andrew Jackson’s irreverent tone from the get-go…"
LYSISTRATA JONES
Chance Theatre - Bette Aitken Theater Arts Center - Cripe Stage
(West Coast Premiere, Ovation Nominated)
Bill Eadie, San Diego Story, February 14, 2014
“Director Kari Hayter uses all of the areas of the set, keeps things moving and directs audience attention with skill.”
Daniel Faigin, Observations Along the Road, February 28, 2014
“The entire cast was strong, and there performances blended so well with the direction that I couldn’t tell where one ended and the other began. This is a good thing, and is a credit to the director Kari Hayter.”
Eric Marchese, Orange County Register, February 23, 2014
“Thanks to Kari Hayter’s superb direction, Chance’s production is completely and perfectly in synch with the show’s sassy, saucy, urban look and feel.”
By Michael L. Quintos, Broadway World, February 25, 2014
“Under the savvy direction of Kari Hayter, this peppy musical satire is able to find the right balance between comic sharpness and sincere societal examination…Judging from her pair of shows so far at the Chance, Hayter certainly has an expert command for not only directing young actors but also directing said actors in fresh, revisionists musicals that skew the old with the new. The results, to my delight, have been both rousing and engagingly complex.”
By F. Kathleen Foley, LA Times, February 20, 2014
International City Theatre
By Steven Stanley - Stage Scene LA - February 13, 2022
Click Here for Full Review
"All of this adds up to hour of Sondheim magic made even more magical thanks to Kari Hayter's as always inspired direction..."
"Throughout is all, director Hayter finds even more ingenious ways for these two characters to share separate spaces together..."
“ENTERTAINING AND CHARMING…a musical necklace which will delight Sondheim fans everywhere… the voices are heavenly… a feast for the eyes and ears.” — Elaine Mura, Splash Magazines
“MUSICAL MAGIC… emotionally moving… a tour-de-force tour of Sondheim numbers performed by an excellent cast.” — Anita Harris, Signal Tribune
“ENJOYABLE… engaging performances.” — Sean McMullen, Grunion Gazette/ Press Telegram
“A SPARKLING NEW PRODUCTION” — Rob Stevens, Haines His Way
“SUBLIME… PLAYFULNESS AND ROMANCE… go[es] straight to our hearts.” — Joe Mosqueda, Glamical
“DELIGHTFUL… a potpourri of engaging tunes brought vividly to life.” — Paul Myrvold, Theatre Notes
“BITTERSWEEET… the type of high caliber entertainment for which ICT has a reputation for delivering — Ernest Kearney, The Tvolution
ONCE - The Musical
3-D Theatricals - Cerritos Center for the Performing Arts
By Leo Buck - Bucking Trends - October 18, 2019
Click Here for Full Review
"To risk speaking in any potentially ‘sexist’ generalities, Ms. Hayter was irrefutably the best directing choice for this piece bar none. It requires a wise feminine hand, and strong feminine insights, to be realized the very best way possible; for although it involves one broken man’s redemption and revitalization, it’s the determined woman behind him who’s driving the action and making all of it happen."
By Dany Margolies - OC Register - October 16, 2019
Click Here for Full Review
"Additionally, the stage revolves, and Kari Hayter masterfully directs the production so that we don’t always notice the revolving but we always sense we’re getting different points of view, visually and narratively. Indeed, sometimes feel we’re seeing a close-up, as in a film."
By Steven Stanley - Stage Scene LA - October 12, 2019
Click Here for Full Review
"If you haven’t seen the Tony-winning Best Musical of 2012 restaged in the round by the brilliantly inventive Kari Hayter for 3-D Theatricals, you haven’t yet experienced the full musical-theater wonder that is Once."
VOYAGE LA MAGAZINE
Meet Kari Hayter - Hidden Gem - October 2, 2019
Click Here for Full Article
THE VANDAL
Chance Theatre - Bette Aitken Theater Arts Center - Fyda-Mar Stage
By Chris Daniels - www.theshowreport.com - October 7, 2019
Click Here for Full Review
By Rob Stevens - www.haineshisway.com - October 7, 2019
Click Here for Full Review
By Daryl H. Miller - Los Angeles Times - October 4, 2019
Click Here for Full Review
By Christopher Smith - OC Register - September 29, 2019
Click Here for Full Review
By Steven Stanley - Stage Scene LA - September 27, 2019
Click Here for Full Review
VIOLET
Chance Theatre - Bette Aitken Theater Arts Center - Cripe Stage
OVATION RECOMMENDED 2018
LOS ANGELES TIMES CRITICS' CHOICE 2018
By Matt Cooper - Los Angeles Times - February 18, 2018
Click Here for Full Review
By Daryl H. Miller - Los Angeles Times - February 16, 2018
Click Here for Full Review
OC Registry - February 13, 2018
Click Here for Full Review
Broadway World Los Angeles - By: Michael Quintos - February 15, 2018
Click Here for Full Review
Stage Scene LA - By: Steven Stanley - February 12, 2018
Click Here for Full Review
PARADE
Chance Theatre - Bette Aitken Theater Arts Center - Cripe Stage
28th Annual LA Stage Alliance Ovation Award Nomination
Best Musical
Best Direction of a Musical
OVATION RECOMMENED 2017
LOS ANGELES TIMES CRITICS' CHOICE 2017
By Daryl H. Miller - Los Angeles Times - July 16, 2017
Click Here for Full Review
"Director Kari Hayter and a committed cast deliver a fluid, coiled production that shakes the audience to its core."
---
By Daryl H. Miller - Los Angeles Times - July 13, 2017
Click Here for Full Review
"This visually arresting, emotionally potent production is hard to shake off afterward."
"This is the tale not of one man, but of a society, which director-choreographer Kari Hayter subtly underscores by keeping the cast close at hand to, literally, set the stage for each new development in the story by precisely rearranging the minimal scenic elements — a collection of chairs and small tables — on the raw-plank playing area."
"Richly evocative throughout, Hayter’s staging...delivers its defining image just moments from the end, when two characters, forever linked by tragedy, somberly exit the story side by side."
---
By Tony Frankel - Los Angeles Theater Review - July 26, 2017
Click Here for Full Review
"The title sardonically refers to the Memorial Day Parade that was backdrop to a civic disgrace fueled by fear, ignorance and scapegoating. If it sounds depressing it’s not, especially given Chance Theater’s terrific revival, bolstered by Kari Hayter’s choreographically brilliant direction..."
---
By Eric Marchese - Orange County Register - July 12, 2017
Click Here for Full Review
"Broadway-style productions of the show strive for large-scale treatments complete with sets and special effects. Chance Theater’s intimate version brings the tragic story of Leo Frank up close and personal – too close for comfort, some might say with regard to director Kari Hayter’s staging."
"And while Chance’s production is by no means small in scale, its stripping away of theatrical window dressing proves that the show’s power lies in handling it as a chamber musical. Nothing in Hayter’s heart-wrenching staging separates us from the characters and their words and actions, and her choreography..."
---
By Leo Buck, www.buckingtrends.me - July 12, 2017
Click Here for Full Review
"While admittedly, not a show for those who prefer that their musical entertainments promote more ‘light-hearted’ and easily-digested sentiments like “Falling In Love Is Wonderful” or “The Sun Will Come Out Tomorrow”, for mature theater enthusiasts who yearn for thoroughly compelling, thought-provoking fare, “The Chance Theater’s ’ latest is well worth the trip to Anaheim.
Be warned though, once seen, the story that unfolds can never be forgotten (–nor should it be!) Hayter’s direction and tone finds great sophistication in mere simplicity—gaining quite innovative results with virtually no set-pieces, save for a few chairs and even a scant fewer props. She also astutely resists any temptation to further sensationalize the on-stage happenings (—this story is sensational enough!) Even the production’s most critical scene is enacted with refreshing tact—preferring “suggestion” and “symbolism” over anything overtly graphic or shocking (thankfully too, they don’t even show a noose!) It could be argued also that the real power in Hayter’s direction lies in how she maintains a tight focus on the characters while keeping one scene (including the “fantasy” and “flashback’ sequences) constantly flowing forward at a rather swift pace. This in itself pays off big time—after all, it’s a humongous plot with so much happening in such a relatively short period. Little wonder that at times, the show can actually give the illusion of being completely sung though; it isn’t of course, allowing for brief sections of Uhry’s award-winning dialogue, but thanks to the Director’s perceptive stewardship over the material–and the significant talents of her actors, it all seems to fly incredibly by.
As Choreographer, she similarly succeeds inserting moments of dance to lighten the mood as needed, and cleverly incorporates dance and movement into many sections where you might not readily expect them. This also goes a long way to lighten such a doleful tale, as with the almost-playful “Musical Chairs” maneuvers witnessed in the course of Leo’s jazzy “Come Up To My Office” sequence.
To top it off, Hayter definitely knows (and utilizes) the various dances of the age, such as seen at the conclusion of Act One, once Leo has been found guilty, as the crowd bursts into a celebratory “cake-walk” as part of “The Verdict”; this then morphs into a more rhythmic traditional Jewish folk dance something akin to “The Hora”. Subsequently, at a garden party held at the Governor’s mansion in Act Two, the Governor and his wife lead their guests in an old-fashioned “One Step”/”Foxtrot” during their “Pretty Music” number."
---
By Steven Stanley, www.stagescenela.com - July 7, 2017
Click Here for Full Review
Director-choreographer Kari Hayter takes the Best Musical Tony winner Parade and reconceives it so stunningly, even those who’ve already seen the Jason Robert Brown-Alfred Uhry gut-puncher will feel they are experiencing it anew on the Chance Theater stage.
Hayter’s striking new vision for Parade is evident from the get-go in a scenic design that eschews realistic sets for a nearly bare hardwood-floored stage, with only a dozen or so straight-back wooden chairs and a few tables brought on and off in various numbers and configurations, a Fred Kinney design whose surrealism fits Leo’s nightmare dilemma to perfection, and never more so than in Hayter’s staging of the extended courtroom sequence that ends Act One.
As each new witness takes the stand, the seating arrangement changes, a visually stunning series of altered perspectives that compound Leo’s steadily darkening horrors, with Hayter’s stylized choreography adding to the production’s electric impact, in particular when prosecutor Hugh Dorsey interrogates a trio of young factory girls who testify under oath that Leo had invited Mary to “Come Up To My Office,” incriminating evidence accompanied by a nightmare fantasy depiction of the sex fiend the townsfolk of Marietta believe Leo to be.
URINETOWN The Musical
Coeurage Theatre Company - Lankershim Arts Center
28th Annual LA Stage Alliance Ovation Award Nomination
Best Direction of a Musical
OVATION Recommended & Extended
Nominated Los Angeles Drama Critics Circle Award in Excellence for 2016 - Direction, Production, Musical Direction, Lighting
_____________________
Click on the links below for reviews
Los Angeles Times - By: Philip Brandes - January 3, 2017
Broadway World - Los Angeles - By: Don Grigware - November 28, 2016
Theatre in LA - By: Les Spindle - November 8, 2016
Stage Raw - By: Paul Birchall
HAIRSPRAY
Chance Theatre - Bette Aitken Theater Arts Center - Cripe Stage
By Michael L. Quints, Broadway World, July 27, 2015
“Leave it to now frequent Chance Theater director Kari Hayter --- a proven, smart expert at taking large musicals and scaling them down snuggly into a smaller footprint --- to once again take the reigns and reinvent how a Change Theater production is presented.”
By Eric Marchese, Orange County Register, July 24, 2015
“Hayter’s staging overcomes the limited amount of performance acreage, often ingeniously so.”
By Zach Johnston, The Orange Curtain Review, July 28, 2015
“Each performer in this production, directed by Kari Hayter, brings a delightful energy to the stage with excellent comedic timing, powerful vocals and impressive choreography”
By Buck-ing Trends, July 20, 2015
“Director Kari Hayter makes full use of “The Chance’s” ample auditorium, in essence casting the viewers as the ‘studio audience’ for “The Corny Collins Show” and all the related goings-on. This makes for a livelier, more ‘immersive’ experience, thus a more satisfying one as well. What’s more, she keeps the pace surprisingly quick without sacrificing any significant comic or ‘message’ moments the show boasts.”
By Steven Stanley, StageSceneLA, July 20, 2015
“Chance Theater reinvents Hairspray --- and brilliantly so --- for an immersive, intimate, (almost) in-the-round revival unlike any I've seen before."
BLOODY BLOODY ANDREW JACKSON
Chance Theatre - Bette Aitken Theater Arts Center - Cripe Stage
(LA Times Critics Pick, Ovation Recommended)
By David C. Nichols, LA Times, July 17, 2013
“Director Kari Hayter maintains a taut balance between satirical snark and sober intent…”
Eric Marchese, Orange County Register, July 14, 2013
“From the get-go, director Kari Hayter's staging is a raucous, freewheeling affair… With skill and finesse, Hayter and company capitalize on the show's inherently satirical tone.”
Steven Stanley, StageSceneLA, July 10, 2013
“Director Hayter and company set Bloody Bloody Andrew Jackson’s irreverent tone from the get-go…"
LYSISTRATA JONES
Chance Theatre - Bette Aitken Theater Arts Center - Cripe Stage
(West Coast Premiere, Ovation Nominated)
Bill Eadie, San Diego Story, February 14, 2014
“Director Kari Hayter uses all of the areas of the set, keeps things moving and directs audience attention with skill.”
Daniel Faigin, Observations Along the Road, February 28, 2014
“The entire cast was strong, and there performances blended so well with the direction that I couldn’t tell where one ended and the other began. This is a good thing, and is a credit to the director Kari Hayter.”
Eric Marchese, Orange County Register, February 23, 2014
“Thanks to Kari Hayter’s superb direction, Chance’s production is completely and perfectly in synch with the show’s sassy, saucy, urban look and feel.”
By Michael L. Quintos, Broadway World, February 25, 2014
“Under the savvy direction of Kari Hayter, this peppy musical satire is able to find the right balance between comic sharpness and sincere societal examination…Judging from her pair of shows so far at the Chance, Hayter certainly has an expert command for not only directing young actors but also directing said actors in fresh, revisionists musicals that skew the old with the new. The results, to my delight, have been both rousing and engagingly complex.”
By F. Kathleen Foley, LA Times, February 20, 2014