American coming-of-age comedies rarely beat with such uncomfortable verisimilitude.
—
Siddhant Adlakha,
Variety,
5 Aug. 2026
At its best, that instinct lends his comedies a shaggy warmth and a conspiratorial mood that suggests the filmmaker, character, and even viewers are all surviving the humiliation of modern intimacy together.
There are satires of AD home tours—and a host of new competitors, from new media to independent creators.
—
Emma Hinchliffe,
Fortune,
27 July 2026
By 1775, at age 47, as the first shots rang out at Lexington and Concord, her anonymous satires and plays were already shaping public opinion in support of independence.
With sparse amounts of slapstick, this staging isn’t the most physical of farces, though Lutz and Enriquez in particular strike some laugh-out-loud poses.
—
Emily McClanathan,
Chicago Tribune,
17 Apr. 2026
Two suburban groups, Plano’s Rover Dramawerks and MainStage Irving-Las Colinas, are opening the new year with farces by prolific British playwrights that are marked by mistaken identity and other comic twists.
—
Manuel Mendoza,
Dallas Morning News,
8 Jan. 2026
Ludwigsen played each of the five commercial slapsticks five times in an anechoic environment, minimizing any acoustic room effects with absorbing wedges.
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