The Importance of Marrying Wells

Add to the mix a starry-eyed pretty boy named Caesar (Peter Macklin) who comes from a country so backward that "the men there wear mustaches without any hint of irony", a sex-crazed therapist (Maria Deasy) and and over-worked lawyer (Brian Russell) and you get sublime lunacy delivered by a well-oiled cast that seems to be having as much fun as we are.  (Michael Dale)


The Importance of Marrying Wells

I am a true believer that farce is one of the more difficult genres to pull off.  Well, this cast not only pulls it off tremendously, they do it effortlessly.  Each actor shines throughout.  They work together as a team...a well-oiled, freakin' hysterical team.  I honestly cannot pinpoint a standout/scene-stealer.  They all steal every scene they are in:  Cheryl Lynn Bowers, Maria Deasy, Antony Hagopian, Celia Howard, Peter Macklin, Michael Malone, Brian Russell, and Jere Williams.  They all deserve a standing ovation. (John Samuel Jordan)


What’s In A Name

Under the direction of Greg Cicchino, the production is exciting and effective, featuring a highly emotional performance by Maria Deasy as Susan Price, the woman who has been living under an assumed identity all these years.


The Importance of Marrying Wells

Rising well above the material are pros Maria Deasy as psychiatrist Dr. Ledcia (sic) Prism (a surname borrowed from Wilde) and Brian Russell as an obsessive attorney. (Robert Windeler)

Dyin’ For It, by Derek Murphy, is the funniest play I’ve seen in years. How to describe it? Think Greek tragedy filtered through Mel Brooks…

The quartet of performers in Dyin’ For It could give lessons in ensemble playing. They are all superb: Maria Deasy as the mother, Nancy; Aoife Williamson as Deirdre; Sarah Street as Bridget; and Adam Petherbridge as Paddy.

The dazzling split-second timing must be credited to the splendid direction of John Keating.

The play, a world premiere, was produced by the multitalented Maria Deasy and the brilliant playwright Derek Murphy. (Beatrice Williams-Rude)


Always Together

If there is anything good to be said for oppression, it is that it breeds subversion. And it gives the world fine plays like Anca Visdei's "Always Together"...Ms. Deasy and Ms. Mercouffer give appealing performances; Ms. Visdei's thoughtful two-character play manages the remarkable feat of peopling the stage with vivid individuals and multitudes and raising moral issues that transcend particular nationhood and time. (Lawrence Van Gelder)


The Crucible

In Mr. Miller's apt words, the play deals with ''one of the strangest and most awful chapters in human history.'' Though the basic events are true, one always greets them with incredulity. Even today, with formerly repressive nations promoting individual liberty, the scourge that the playwright first identified in the 1950's remains a lingering global presence. In revival, ''The Crucible'' leaves disturbing reverberations. (Mel Gussow)

What’s In A Name  Maria Deasy…is riveting as she unravels emotionally before the audience, almost from her first moments onstage...Director Gregory Cicchino employs a sparse set and actors who change accents and attitudes in mid sentence. The result is a deliberately ambiguous transformation in locations, timeline and characterizations. All without changing costumes, scenery or adding cast members.

What’s In A Name

Maria Deasy…is riveting as she unravels emotionally before the audience, almost from her first moments onstage...

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Always Together

Maria Deasy, an actress who is quite comfortable on the stage, plays Alexandra. She skillfully portrays the impassioned writer who struggles to adapt to a whole new culture and to learn the new and intimidating French language. Deasy succeeds in bringing the audience into Alexandra's world -- dauntless and sharp, she goes on to great literary recognition in Switzerland, yet at the same time Deasy does not let us forget the sorrow and pain of a displaced refugee...A thought-provoking and witty story, the play ultimately ends with the question of who was more courageous in the end, the one who left or the one who stayed. Always Together is a moving tale of sisterhood and endurance: it is one that will forever leave its mark on the minds of those who see it. (Kim Hilario)


Always Together

The American premiere of this French-language play receives a highly stylized production, but it’s the characters’ divergent fates that are most compelling. Deasy portrays ambitious Alexandra’s sardonic edge, placing quotation marks around everything but her longing for home. Mercouffer minutely captures Ioana’s decline from hopeful acting student to wan middle age. When the two are united after the fall of the Berlin Wall, their happiness quietly registers the extent of their loss. (Charles McNulty)


“Inside Danny’s Box” ‘s humor primarily derives from the ritualistic practices of neighborly goodness and Christian values. However, in the final twenty minutes the audience is treated to a while formulaic very affective reveal that is sure to leave the audience stunned and in stiches…

The piece is then rounded out by a stellar cast, there is genuinely not a weak link to be found amongst them. Lead by Maria Deasy as Miss Hubble who  takes what could have easily been a broad archetypal, over-protective mother instead opted for a more grounded approach which helps anchor the piece in reality…To summarize “Inside Danny’s Box” is a play about deeply flawed people that are all redeemable. It is funny and honest and not one to miss. (Katherine Hebert, Contributing Critic - New York)