“In these times of isolation and uncertainty, a production of Alphonse seems a perfect fit. Gabe Maharjan gives a sensitive, ethereal performance playing several characters. The production is pure joy.”

“How fitting that the first live, in-person theatre performance in Toronto following the spring lockdown should be a revival of Wajdi Mouawad’s life-affirming solo work about the importance of imagination and freedom.”

“In “Kafka and Son,” Canadians Mark Cassidy and Alon Nashman have adapted Kafka’s famed letter to his father into a one-man meditation on the effects of a father’s actions on a son. It’s stylishly designed, directed with verve by Cassidy and performed with unswerving dedication to the material by Nashman, who plays both father and son.”

Theaturtle’s singspiel ‘Charlotte: A Tri-Coloured Play with Music’, with music by Aleš Březina, libretto by Alon Nashman, direction/scenography by Pamela Howard, and movement direction by Marie-Josée Chartier, “leads the way towards a renaissance of opera,” according to one of Europe’s top critics.

“Theaturtle brings Alphonse to South Africa after touring festivals and theatre stages internationally…. It is a tapestry of stories within stories, with characters ranging from a regal vacuum cleaner to a melancholy cave, featuring one man, 27 characters – and loads of popcorn!”

“It was completely sold out and people were sitting on the stairs. I’ve never experienced such a standing ovation – and I’m eighty… I felt we were telling people the story we owed them.

“This epic solo show enchants…while presenting the audience with the ultimate conundrum—why are we here? Featured artist and director Alon Nashman is superb, taking on all 27 characters with applaudable enthusiasm and charisma. For a fun-filled journey littered with imaginary scenes—and popcorn, don’t forget the popcorn—do not miss this production.“ Cue Magazine, South Africa

A new review in The Guardian articulates the many reasons why Theaturtle has realized her singspiel: “To be caught up in Salomon’s modern masterpiece is to meet her, love her – and mourn her.”

“The music is my scene partner. We have taken the wonderful music of Golijov and woven it into the fabric of the play to the point that I am responding to it as if it is the father in the room.”