One thing’s for sure, Bootless Stageworks can never be accused of performing standard theatre fare. This plucky company has carved out quite a niche for themselves over the years…. Bootless Stageworks puts on a tremendous production. And Letts’ dialogue is very real and relatable. A talented writer, a talented troupe. What more could you ask for?  –  Chris Lanning for STAGE Magazine’s review of Bug.


Mashup of Shakespeare and James Cameron is bloody brilliant! The play takes the story of the film The Terminator II and combines it with the language of Shakespeare to create one of the most unique shows I have seen performed on stage…and Bootless did it brilliantly. This was a cast full of those that have graced the stage to speak the Bard’s language. Their expertise was not lost in this production, as it takes an eloquence only known to those that have performed Shakespeare’s work to be able to speak in iambic pentameter and be understood by an audience not so well versed in nuances that make Shakespearean language so rich. – John Muller for STAGE Magazine’s review of Terminator The Second.


Venus in Fur will make your head spin. When you go, be prepared to experience frequent changes in direction. The actors switch characters; the characters switch roles; the roles switch perspectives – sometimes within the span of a single sentence. The bravura role in this show is clearly that of Vanda. Ms. Warne’s background in comedy serves her well. She can turn on a dime. Her two Vandas display an impressive range of behaviors, some of them bizarre, but they never become caricatures. Mr. Gallagher’s roles are generally more subdued, though not understated, even when the power is in his hands. – Kevin Smith for Broadway World Delaware’s review of Venus in Fur.


Hearing beautiful singing voices use extremely profane language is a  big part of the show’s appeal — it’s a juxtaposition that never fails to entertain. The stellar casts features some of the region’s brightest rising opera  singers. The live orchestra blended with the voices  without overpowering them nearly perfectly.  –  Holly Quinn for Delaware Arts Info’s review of Jerry Springer The Opera.