Press & Awards

“The overarching vision belongs to the hugely talented Adam Arian, for whom this is a final graduate project. It certainly was an epic undertaking, and he obviously tore into the daunting work with relish. …a thrilling, rarely-taken ride.”

“To see this production is a privilege that restores one’s faith in the future of American theater, enhances one’s knowledge of theatrical past, and reinforces one’s opinion that the UCSD department of theater and dance must be among the best training programs in the country.”

“Best of the year: UCSD’s remarkable and sizeable production of Tennessee Williams’ Camino Real was truly one of the year’s most evocative shows. It was extraordinary, the kind of experience the dedicated theatergoer adores.”

“…a too-short-lived, jaw-dropping production at UCSD provides a don’t-miss opportunity…”

“Crumbling pillars surround a staircase that ends at a downward-facing doorway in a Magritte sky. The costumes are tattered, decomposing, and falling apart like the place and its inhabitants. The lighting is stunning, with marvelously dimensional projections. Thrumming sound underscores the action.”

“This production, brilliantly directed by Adam Arian, a second-year MFA student, makes just about every moment visually, aurally and dramatically thrilling. His luminous vision is realized by the dazzling contributions of his designers who create a totally unified world which amounts to a jaw-dropping conflation of Waiting for Godot, The Rocky Horror Show, Men in Black and A Clockwork Orange.”

“The play presents huge directorial challenges, and Arian rises to the occasion with clever staging that offers visual interest to accompany the word-drunk script.”

“One can’t imagine a better landscape for Stoppard’s complex work. A rare, boldly envisioned work.”

“Ahh, the boat scene … The suggestion of a sail, the wonderful creaking sounds; it all made you lose your land-legs. If you missed this production you missed one helluva ride.”

“Rosencrantz and Guildenstern wear brown-checked suits and bowler hats (à la Godot’s Vladimir and Estragon), and you think: Okay. But then a pulsing rhythm and white neon stripes announce that Hamlet isn’t the only one “transformed” in Denmark. The king and his court have gone goth: white faces, black outfits, shoulders twitching in unison to an anti-disco beat.”

“On the deceptively simple set, the audience sits on two sides, with a polished wooden walkway in between. Wherever R&G turn, the stage traps them. They can’t escape, just disappear. Like Alice through the looking glass they enter an uncertain, possibly even unknowable realm.”

“Adam Arian’s direction is smooth.”

“Timing was quintessentially perfect for the vaudevillian momentum, thanks to Director, Adam Arian. David Woolard’s costumes were delightful and fine-tuned. The lighting and sound were nuanced. This show deserves a long run.”

“Clinton is a fun, rude, roller-coaster reminder that American politics is often a circus.”

“Clinton never takes itself too seriously while showcasing some truly remarkable performances.”

“Completely crass, and delightful.”

“MEMPHIS is an electric, rousing must-see… the director deftly navigates the emotional highs and lows of the show while keeping the energy level ratcheted up.”

“Memphis is a rocking, realistic trip through musical, cultural changes and the birth of Rock and Roll… Few have captured the story with as much energy and polish as “Memphis: The Musical.””

“It is easy to see why this 2010 musical won four Tonys including Best Musical. Do yourself a favor and get lost in the sheer happiness and shimmering voices of Memphis before it leaves town.”

“Singing soars and dancing is hot in Memphis. Production-wise, the show clicks as it moves from department store to radio station to nightclub to Huey’s house and back.”

“Subtitled “a bromantic comedy,” David Ingber’s Fantasy Football is a slick crowd-pleaser. Adam Arian’s fleet-footed direction, and a game band under Brian Usifer made a sparkling case for the show.”

“Fantasy Football reveals itself to be a warmhearted tribute to male friendships… good-natured, funny, and unexpectedly sweet… Thanks to the excellent cast, Adam Arian’s spot-on direction and author David Ingber’s witty storyline, this is bound to be one of the more popular new musicals at NYMF.”

“This breezy, light, just-for-fun piece is high-spirited and snappy. Credit director Adam Arian for a lot of the liveliness.”

“One of the musical’s biggest accomplishments is that you don’t have to know or even care about sports to enjoy the show.”

“Patté Award winning director Adam Arian gives the piece the perfect comic spin, and makes the duck trio hilarious… It’s all kind of wacky, and lots of fun.”

“Clementine and the Cyber Ducks has the most humor of the pieces, but it contains a dark underbelly, too. Set simultaneously in the present and past, Krista Knight’s cyber comedy takes off from the American western folk ballad.”

“Fine performances and brisk pacing… engaging and intense.”

“Adam Arian’s direction makes the most of Creighton’s time-traveling script. He employs clever staging techniques to imbue the Strattons’ story with a creepy reality, giving it the tone of a campfire tale where danger lurks around every corner and the ultimate horror is inevitable… The play achieves a sublime sense of tragedy that hits hard at the individual level while hinting at larger social and historical implications, a feat not easily or frequently achieved.”

“The show features beautifully moody direction by Adam Arian, terrific period costumes designed by Ryan Rossetto, evocative sound work by Sanaz Ghajarrahimi and lighting by Greg Mitchell, and uniformly fine acting by the cast.”

“Each setting compliments the other; the curiosity-driven kids propel the plot, creating suspense and asking the questions we, raised on popular ghost stories, expect… When the fear arises, the veracity and power of the story itself, not the fantastic, is what horrifies.”

“Burn is proof that lightning can strike twice at this festival. With strong acting, beautiful visuals, and haunting music that foreshadows the most unsettling moments, Burn is a tight, terrifying story that is worth craning your neck for.”

“Patté Award-winning director Adam Arian directs with imagination and ingenuity.”

“For two years, Fiona’s been searching her memory, her house, her marriage and her life for clues to what happened on that day when her 8-year-old son disappeared… It’s all about words – their use and misuse, how they inform and distort.”