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<52
American Appetite: Tales of Dirty Young Boys & Spry Old Men, The
An Evening At Home
Anablep and Other Oddities
Back to Kroenig
Beckett's Last Dance
Beneath Sita's Belly
Black Box Confessions
Blue Sofa
Candistan
Caught Sleeping
Cleopatra!-And Antony
ClockBusters
Death Blow - The Show
Devouring Time
Engineer and The Artist, The
Enronicles
Exit Laughing!
F--king Handicapped Guy
Fred Anderson -Professional Goofball!
Full Spectrum Improvisation
George Bush's Nuts
Getting It Wrong
Guano dell' Amore - ("Birdshit of Love")
Gulag Ha Ha
Interactive Solo Performer Daniel Packard
Ken and Andy Show, The
Lillie, A Musical
Looking, Then Pointing
Mad Adventures of Chaos For Hire, The
Me Laugh You Long Time
Menopause and Desire: Or Why Must I Be Middle Aged and In Love?
Microclimates: A Crime Against Gravity or The Burrito From Sausalito
My Son, the Mummy: Episode Pi
nEO-sURREALIST sYSTEMS pRESENTS: HOE- DOWN!!!!!
Objects In Mirror (May Be Closer Than They Appear)
OUTTAKES: Monologues, Stories, and Social Commentary
Rise And Fall of The US/them Empire, The
Smashing Icons
Something You Might Want
Song in Your Blood, The
Spray
Stranger In Woodstock
Surfing Toasters
Survival of the Fit Enough/ Fern
Talking To Myself
Tangled
Uncle Jacques' Symphony
Underground Movement Theatre
Upper Canada Cougar Movement, The
Valentine's Play Time
Way Light Strikes Filled Mason Jars, The
Winterkill
Woods For The Trees
Zucchini: The Forbidden Dance!

Play: Winterkill
Reviewer: Jim Strope
Reviewer Email: jims@sfsalvo.com
Rating: 4 Stars
The script featured very sharp contrasts between the three characters. Denise Fleming played a middle-aged business woman (relatively aristocratic), herself as a young child, and her own mother, a coarse and sometimes brutal prostitute.

The central theme, for me, is that there is plenty of evil in the world but it becomes most apparent when it is visited on a child.

The contrast portrayed between the idealistic child and the all-too-realistic mother was disturbing, which is to say effective.

The juxtaposition of the three personalities within one actor eventually sharpened the ironic themes. The backstory was exposed carefully and slowly, especially in the voice of the child whose experiences drove the action of the play.

The acting was very well done. She made the personalities clear distinct and from one another with her voice and body language.

Play: Winterkill
Reviewer: Cem Kilicci
Reviewer Email: cemkilicci@hotmail.com
Rating: 5 Stars
Best theater experience I ever had.
Never seen anything more real and gripping.

Play: Winterkill
Reviewer: Gary
Reviewer Email:
Rating: 5 Stars
Intense. Dark. Exceptional performance. Highly recommend, but plan to see a comedy afterwards.

Play: Winterkill
Reviewer: Denise Dee
Reviewer Email: hiareth@hotmail.com
Rating: 4 Stars
Alright I have to admit when Denise first walked out on the stage, and started very shortly doing the voice of a little kid, a voice inside me said "oh no", but within minutes, I was swept up in this incredibly dark tale and was as confused as i imagine someone would be in an interrogation room. Denise is spectacular zooming from mother to daughter, from high to scared, from beligerent to speechless. I was shaken by her story and though I'm not sure everyone would want to see it. If you enjoy brutal honesty, go to this one.

Play: Winterkill
Reviewer: Frawst
Reviewer Email:
Rating: 4 Stars
Intense.

Which is a word your often going to here associated with this piece, so I'll give you another:
Oppressive.
In the good way.

After about 15 minutes I was uncomfortable and ready to leave.
Until I realized that it was the intended response.

Denise Fleming doesn't so much perform these characters as channel them, which is desperately unnerving.

And very effective.

Play: Winterkill
Reviewer: Vince Vitale
Reviewer Email: WorldGazer@aol.com
Rating: 3 Stars
This one-woman show by Denise B. Flemming introduces us to Deborah Taylor, who when interrogated by police, decomposes into her nine-year-old self, as well as into her mother's personality, a low-life street prostitute. The angst is all there, and well portrayed. What's missing is anything about the current character's life to provide the contrast of where she is in her life now to counterpoint to her upbringing. Possibly the best part of the dialogue is an investigation of her attitudes towards love, referencing the "man in the shadows," as well as looking at God as a lover. Reality check: do police do formal investigations over the death of a street prostitute? With a tighter script with more about the character's current life, this could be a more riveting drama.