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"I will accept anything in the theatre... provided it amuses or moves me. But if it does neither, I want to go home."
—Noel Coward |
Press: Director
The Oldest Living Cater Waiter (42nd Street Moon)
Best of Bay Area Live Theatre 2019
Michael Patrick Gaffney is a hilarious ‘Cater Waiter’
"From the start, it’s clear that the 'The Oldest Living Cater Waiter' at the Gateway Theatre — a one-person tour de force written and performed by Michael Patrick Gaffney — is going to be good. Gaffney is a quintuple threat. He acts, sings, dances, writes and caters in the tight, 75-minute pastiche presented by 42nd Street Moon and directed with finesse by Ken Sonkin. With images projected upstage (video and sound design also by Sonkin), Gaffney muses of being raised in Oklahoma, finding solace in Billie Sue Thompson, his eighth grade drama teacher, who introduced him to theater history and the importance of deification to the craft. A joy from beginning to end, 'The Oldest Living Cater Waiter' is original, well-served and easy to digest. If there were Michelin stars for theater, it would get three." --SF Examiner
Best of Bay Area Live Theatre 2019
Michael Patrick Gaffney is a hilarious ‘Cater Waiter’
"From the start, it’s clear that the 'The Oldest Living Cater Waiter' at the Gateway Theatre — a one-person tour de force written and performed by Michael Patrick Gaffney — is going to be good. Gaffney is a quintuple threat. He acts, sings, dances, writes and caters in the tight, 75-minute pastiche presented by 42nd Street Moon and directed with finesse by Ken Sonkin. With images projected upstage (video and sound design also by Sonkin), Gaffney muses of being raised in Oklahoma, finding solace in Billie Sue Thompson, his eighth grade drama teacher, who introduced him to theater history and the importance of deification to the craft. A joy from beginning to end, 'The Oldest Living Cater Waiter' is original, well-served and easy to digest. If there were Michelin stars for theater, it would get three." --SF Examiner
The Oldest Living Cater Waiter (42nd Street Moon)
Theatre Bay Area Recommended Production
“...a delightful and delicious evening that is filling but still leaves you wanting more. Displaying a great deal of versatility as he flits between courses and revealing his struggles, Gaffney is an affable and refreshingly honest performer who charms his way through the evening. He translates his personal journey in a way that makes him relatable to anyone who has had to bridge the gap between who we want to be and who we are. Director Ken Sonkin guides Gaffney at a great pace as he rotates exclusively counter-clockwise around the dinner table across three courses that serve as distinct acts. The final dessert is sentimental without being too sweet; Gaffney is quite moving as he resigns himself to his reality, but we are left wanting to see a bit more of the fire that keeps him reaching for his dreams." --Broadway World
Theatre Bay Area Recommended Production
“...a delightful and delicious evening that is filling but still leaves you wanting more. Displaying a great deal of versatility as he flits between courses and revealing his struggles, Gaffney is an affable and refreshingly honest performer who charms his way through the evening. He translates his personal journey in a way that makes him relatable to anyone who has had to bridge the gap between who we want to be and who we are. Director Ken Sonkin guides Gaffney at a great pace as he rotates exclusively counter-clockwise around the dinner table across three courses that serve as distinct acts. The final dessert is sentimental without being too sweet; Gaffney is quite moving as he resigns himself to his reality, but we are left wanting to see a bit more of the fire that keeps him reaching for his dreams." --Broadway World
Cabaret (Lucky Penny Productions)
Aisle Seat Review Best of the Best 2019
“...you’ll love Lucky Penny’s at times risque and at others heartfelt rendition of the famous musical. Director Ken Sonkin has transformed Lucky Penny’s intimate theater into the Kit Kat Klub, the famous, anything-goes nightclub in Berlin between World War I and II. The back stage is a black wall and blue lights illuminate the floor. The haze Sonkin has pumped in makes for a steamy, mysterious aura, perfectly evoking a smoke-filled club, or maybe yet, a misty, gloomy Berlin where the intrigue of the city is in full effect. After the story and the songs, it’s the actors and their voices that make the show. But here, there were many little details that, when taken together, make for an all the more powerful visual experience. The entire production, costumes, sets, props are all in varying shades of grey, or black or white. [This] highlights one main moment in the show: the red Nazi armband that Herr Ludwig reveals when he takes off his coat at the engagement party. The audience gave a collective gasp, as did Cliff when he saw it. Like the finish on a great wine, the play stuck with me for the rest of the night. As I left the theater, going out into the cool Napa night, I was singing 'Willkommen, Bienvenue, Welcome' until I went to sleep.” --Napa Valley Register
Aisle Seat Review Best of the Best 2019
“...you’ll love Lucky Penny’s at times risque and at others heartfelt rendition of the famous musical. Director Ken Sonkin has transformed Lucky Penny’s intimate theater into the Kit Kat Klub, the famous, anything-goes nightclub in Berlin between World War I and II. The back stage is a black wall and blue lights illuminate the floor. The haze Sonkin has pumped in makes for a steamy, mysterious aura, perfectly evoking a smoke-filled club, or maybe yet, a misty, gloomy Berlin where the intrigue of the city is in full effect. After the story and the songs, it’s the actors and their voices that make the show. But here, there were many little details that, when taken together, make for an all the more powerful visual experience. The entire production, costumes, sets, props are all in varying shades of grey, or black or white. [This] highlights one main moment in the show: the red Nazi armband that Herr Ludwig reveals when he takes off his coat at the engagement party. The audience gave a collective gasp, as did Cliff when he saw it. Like the finish on a great wine, the play stuck with me for the rest of the night. As I left the theater, going out into the cool Napa night, I was singing 'Willkommen, Bienvenue, Welcome' until I went to sleep.” --Napa Valley Register
Humble Boy (Contra Costa Civic Theatre)
Theatre Bay Area Recommended Production
“HUMBLE BOY” CHARMS & DELIGHTS, AT CCCT, EL CERRITO. Charlotte Jones' award-winning play buzzes us from bee hive to black holes. Her story is an endearing, witty British comedy, sports a beautiful garden and a huge, glowing, phallic bee hive onstage. That spectacular giant bee hive glows and buzzes, a spaceship with a mysterious message. Hearty laughter and a tear for a bee-you-ti-ful show, “Humble Boy” takes us on a joyful trip and delivers a sweet surprise.” --Theatrius
Theatre Bay Area Recommended Production
“HUMBLE BOY” CHARMS & DELIGHTS, AT CCCT, EL CERRITO. Charlotte Jones' award-winning play buzzes us from bee hive to black holes. Her story is an endearing, witty British comedy, sports a beautiful garden and a huge, glowing, phallic bee hive onstage. That spectacular giant bee hive glows and buzzes, a spaceship with a mysterious message. Hearty laughter and a tear for a bee-you-ti-ful show, “Humble Boy” takes us on a joyful trip and delivers a sweet surprise.” --Theatrius
Humble Boy (Contra Costa Civic Theatre)
"Working on a handsome unit set designed by Benicia Martinez (with costumes by Mackenzie Laurel Orvis, lighting by William Campbell, and sound design by Michael Kelly), Ken Sonkin has directed Humble Boy in a manner reminiscent of some of Alan Ayckbourn’s “garden” plays....Though Humble Boy contains plenty of rowdy and hilarious moments, it also offers touching insights into people who manage to rise above their circumstances and surprise themselves by aiming for something better in their lives."
--George Heymont, My Cultural Landscape
"Working on a handsome unit set designed by Benicia Martinez (with costumes by Mackenzie Laurel Orvis, lighting by William Campbell, and sound design by Michael Kelly), Ken Sonkin has directed Humble Boy in a manner reminiscent of some of Alan Ayckbourn’s “garden” plays....Though Humble Boy contains plenty of rowdy and hilarious moments, it also offers touching insights into people who manage to rise above their circumstances and surprise themselves by aiming for something better in their lives."
--George Heymont, My Cultural Landscape
Humble Boy (Contra Costa Civic Theatre)
"Contra Costa Civic Theatre tackles Humble Boy, Jones’ cunningly crafted comedy with Ken Sonkin directing and a dynamite cast that includes Steve Rhyne as Felix and Scarlett Hepworth as his beautiful, domineering mother." --East Bay Express
"Contra Costa Civic Theatre tackles Humble Boy, Jones’ cunningly crafted comedy with Ken Sonkin directing and a dynamite cast that includes Steve Rhyne as Felix and Scarlett Hepworth as his beautiful, domineering mother." --East Bay Express
Humble Boy (Contra Costa Civic Theatre)
"Director Ken Sonkin handles the play’s varied demands smoothly, from a nightmarish invasion of beekeepers to a ludicrous fight scene that pops up out of nowhere. There’s one clever twist toward the end that’s so well handled, and so well set up from the beginning… that experience of something just clicking (and maybe kicking yourself for not having realized it earlier) is not something to underestimate in itself." --San Jose Mercury News
"Director Ken Sonkin handles the play’s varied demands smoothly, from a nightmarish invasion of beekeepers to a ludicrous fight scene that pops up out of nowhere. There’s one clever twist toward the end that’s so well handled, and so well set up from the beginning… that experience of something just clicking (and maybe kicking yourself for not having realized it earlier) is not something to underestimate in itself." --San Jose Mercury News
Tartuffe (University of San Francisco)
A MADCAP LABOR OF LOVE. "This is a play about sticking it to power, and what better way to do that than to cross-gender cast and besmirch the actors’ faces with red noses? PASJ’s production, staged by faculty member and experienced director Ken Sonkin, is gleefully filled with anachronisms. It creates a general feeling of anarchy… this is certainly a collection of Pennywises performing a whip-smart satire. 'Tartuffe' provides essentially a great promotion for the PASJ department; if this is the show that only took one semester to produce, the department must be doing something right. More than anything else, the Studio Theater space lets us see the passion and fun on the actors’ faces. This is clearly a labor of love for them." —The Foghorn
A MADCAP LABOR OF LOVE. "This is a play about sticking it to power, and what better way to do that than to cross-gender cast and besmirch the actors’ faces with red noses? PASJ’s production, staged by faculty member and experienced director Ken Sonkin, is gleefully filled with anachronisms. It creates a general feeling of anarchy… this is certainly a collection of Pennywises performing a whip-smart satire. 'Tartuffe' provides essentially a great promotion for the PASJ department; if this is the show that only took one semester to produce, the department must be doing something right. More than anything else, the Studio Theater space lets us see the passion and fun on the actors’ faces. This is clearly a labor of love for them." —The Foghorn
The Oldest Living Cater Waiter: My Life in Three Courses (SF Fringe, PianoFight)
Best of the San Francisco Fringe 2016
"...deliciously examined in this brilliantly conceived, directed and acted one-man tour de feast… Gaffney is a fine comic actor, with the clown style of a Geoff Hoyle or a Bill Irwin. The Oldest Living Cater Waiter is all that’s great about one-man shows; sharp, crisp delivery, brilliant acting, fantastic direction (kudos to Ken Sonkin), and a compelling universal story." —For All Events
Best of the San Francisco Fringe 2016
"...deliciously examined in this brilliantly conceived, directed and acted one-man tour de feast… Gaffney is a fine comic actor, with the clown style of a Geoff Hoyle or a Bill Irwin. The Oldest Living Cater Waiter is all that’s great about one-man shows; sharp, crisp delivery, brilliant acting, fantastic direction (kudos to Ken Sonkin), and a compelling universal story." —For All Events
The Oldest Living Cater Waiter: My Life in Three Courses (SF Fringe, PianoFight)
For All Events Top 10 Solo Performances 2016
"Gaffney constantly entertains the audience in this one hour solo performance. He juggles balls in a comic vaudeville scene, constantly moving and even running on top of a table and quoting Shakespeare. He also sings with his vibrant voice "Legit Stage Actor" to the tune of Sondheim's "Broadway Baby" with special lyrics by Tom Orr. He later sings Sondheim's "I'm Still Here" also with special lyrics by Tom Orr. This show is full of food references. Gaffney's delivery is sharp, and all of this is directed by Ken Sonkin who brings out the best in Michael Patrick Gaffney." —Talkin' Broadway
For All Events Top 10 Solo Performances 2016
"Gaffney constantly entertains the audience in this one hour solo performance. He juggles balls in a comic vaudeville scene, constantly moving and even running on top of a table and quoting Shakespeare. He also sings with his vibrant voice "Legit Stage Actor" to the tune of Sondheim's "Broadway Baby" with special lyrics by Tom Orr. He later sings Sondheim's "I'm Still Here" also with special lyrics by Tom Orr. This show is full of food references. Gaffney's delivery is sharp, and all of this is directed by Ken Sonkin who brings out the best in Michael Patrick Gaffney." —Talkin' Broadway
The Oldest Living Cater Waiter: My Life in Three Courses (SF Fringe, PianoFight)
Jumping Clapping Man's Top 10 Picks of 2016
"Gaffney is a very compelling and charismatic performer, he plays himself revealing inner thoughts, embodies several different characters... this experience and his passion for theatre comes through in his well-crafted and brilliantly performed show. He is natural, hilarious, honest, a superb actor and raconteur, vulnerable – very moving when performing serious dramatic speeches – yet he can also summon up full sarcasm mode with a delicious attitude! His acting, range of emotions, presence and fascinating personality are what makes Gaffney’s show so rich and deep. He has a great story to tell and he is utterly watchable – leaving us, dare I say it ... hungry for much more! Hopefully this show will come to a theatre near you very soon." —Fringe Review UK
Jumping Clapping Man's Top 10 Picks of 2016
"Gaffney is a very compelling and charismatic performer, he plays himself revealing inner thoughts, embodies several different characters... this experience and his passion for theatre comes through in his well-crafted and brilliantly performed show. He is natural, hilarious, honest, a superb actor and raconteur, vulnerable – very moving when performing serious dramatic speeches – yet he can also summon up full sarcasm mode with a delicious attitude! His acting, range of emotions, presence and fascinating personality are what makes Gaffney’s show so rich and deep. He has a great story to tell and he is utterly watchable – leaving us, dare I say it ... hungry for much more! Hopefully this show will come to a theatre near you very soon." —Fringe Review UK
Wild Boy (Dragon Productions Theatre Company)
Theatre Bay Area Recommended Production
"Ken Sonkin masterfully directs this cast through its many scenes and time/location changes with a sense of warmth, humor, heart, and seriousness all mixed and combined in just the right ways. He also has designed a sound background that reminds us of King George I’s love of Handel as well as brings the appropriate sounds of woods and cities alike to help set the scenes." --Talkin' Broadway
Theatre Bay Area Recommended Production
"Ken Sonkin masterfully directs this cast through its many scenes and time/location changes with a sense of warmth, humor, heart, and seriousness all mixed and combined in just the right ways. He also has designed a sound background that reminds us of King George I’s love of Handel as well as brings the appropriate sounds of woods and cities alike to help set the scenes." --Talkin' Broadway
Wild Boy (Dragon Productions Theatre Company)
Theatre Eddy's Top Ten 2016
"Sensitively and skillfully directed by Ken Sonkin, Dragon's production is sweet and funny in addition to thought-provoking. Sonkin also deserves credits for the production's nicely executed sound design, which allows styles of piano music to distinguish switches in timelines and, in one transition, the rain of Portland to meld into the downpour of England. Wild Boy is recommended for anyone who's a parent, interested in history, concerned with what it means to be human or has ever felt like an outsider -- and that's pretty much all of us." --Palo Alto Online
Theatre Eddy's Top Ten 2016
"Sensitively and skillfully directed by Ken Sonkin, Dragon's production is sweet and funny in addition to thought-provoking. Sonkin also deserves credits for the production's nicely executed sound design, which allows styles of piano music to distinguish switches in timelines and, in one transition, the rain of Portland to meld into the downpour of England. Wild Boy is recommended for anyone who's a parent, interested in history, concerned with what it means to be human or has ever felt like an outsider -- and that's pretty much all of us." --Palo Alto Online
Wild Boy (Dragon Productions Theatre Company)
"Wild Boy is a deeply personal story [that] bounces back and forth between eras by a sterling cast, a quickly transformed set and some even faster costume changes. Director/sound designer Ken Sonkin moves his cast around with alacrity and purpose. Just as this was not an easy play to produce, it's also not always easy to watch. Yet the end result is well worth the effort." --San Jose Mercury
"Wild Boy is a deeply personal story [that] bounces back and forth between eras by a sterling cast, a quickly transformed set and some even faster costume changes. Director/sound designer Ken Sonkin moves his cast around with alacrity and purpose. Just as this was not an easy play to produce, it's also not always easy to watch. Yet the end result is well worth the effort." --San Jose Mercury
The Foreigner (Contra Costa Civic Theatre)
7 TBA Award Nominations. Theatre Bay Area Recommended Production
"Director Ken Sonkin has gathered a game cast of Bay Area theatre veterans (and CCCT newcomers) to bring a lodge-ful of laughs to the East Bay. Amongst all this nefariousness is hilariousness, with large quantities of humor... the characters, though often exaggerated, managed to stay just this side of cartoonish. Easily the funniest show I’ve seen in a while!" --For All Events
7 TBA Award Nominations. Theatre Bay Area Recommended Production
"Director Ken Sonkin has gathered a game cast of Bay Area theatre veterans (and CCCT newcomers) to bring a lodge-ful of laughs to the East Bay. Amongst all this nefariousness is hilariousness, with large quantities of humor... the characters, though often exaggerated, managed to stay just this side of cartoonish. Easily the funniest show I’ve seen in a while!" --For All Events
Take Me Out (Dragon Productions Theatre Company)
8 TBA Award Nominations. Theatre Bay Area Recommended Production
"Phenomenal Acting Makes Take Me Out A Must-See. Baseball is the perfect metaphor for hope, and is also the equality of chance. It's to director Sonkin's credit that he selected a nearly ideal 11 men cast to play the Empires (as well as the team manager and a financial manager for the star of the team). Powerful stuff, and well delivered here." --San Jose Mercury
8 TBA Award Nominations. Theatre Bay Area Recommended Production
"Phenomenal Acting Makes Take Me Out A Must-See. Baseball is the perfect metaphor for hope, and is also the equality of chance. It's to director Sonkin's credit that he selected a nearly ideal 11 men cast to play the Empires (as well as the team manager and a financial manager for the star of the team). Powerful stuff, and well delivered here." --San Jose Mercury
Summerland (Alternative Theater Ensemble)
"Searching for meaning in an America still full of hope. Sonkin, one of the company's founders, provides a textbook lesson in how to turn theatrical lemons into lemonade. The cast's superlative acting and Sonkin's tight direction turn it into a gripping theatrical experience." --Marin Independent Journal
"Searching for meaning in an America still full of hope. Sonkin, one of the company's founders, provides a textbook lesson in how to turn theatrical lemons into lemonade. The cast's superlative acting and Sonkin's tight direction turn it into a gripping theatrical experience." --Marin Independent Journal
Summerland (Alternative Theater Ensemble)
"Told in the round, or more aptly put, the rectangle, director Ken Sonkin and playwright Brian Thorstenson assemble one of the finest examples of ensemble casting seen to date, and there is not a moment of in-authenticity in their performances. Many times during this play, I found myself leaning forward in my seat, wiping away the tears, and laughing out loud with delight. And many times, I felt that it was my own soul being laid bare on that stage, my own past unearthed from the arid ground. If you only see one play for the rest of your life, make it Summerland. It truly satisfies. This is the play that I wish I had written. And this is the play that will haunt me the rest of my days." --SF Bay Times
"Told in the round, or more aptly put, the rectangle, director Ken Sonkin and playwright Brian Thorstenson assemble one of the finest examples of ensemble casting seen to date, and there is not a moment of in-authenticity in their performances. Many times during this play, I found myself leaning forward in my seat, wiping away the tears, and laughing out loud with delight. And many times, I felt that it was my own soul being laid bare on that stage, my own past unearthed from the arid ground. If you only see one play for the rest of your life, make it Summerland. It truly satisfies. This is the play that I wish I had written. And this is the play that will haunt me the rest of my days." --SF Bay Times
A Southern Christmas (Solano Repertory Company)
"an unpublished play savvily directed and brilliantly acted... Superlatives are truly deserved for director Sonkin, a (James) McLure friend who five years ago first directed the play at Sacramento's B Street Theatre. ...a director who trusts actors' instincts, he brings together a handpicked group of Bay Area talents to fill out the four-member cast and to tell a modern story about a loving but dysfunctional family, the McDavises of Reevesville, LA. Their performances and Sonkin's direction are so right, so honest, so carefully measured, that a playgoer may get lost in this touching story worthy of greater celebration." --Vacaville Reporter
"an unpublished play savvily directed and brilliantly acted... Superlatives are truly deserved for director Sonkin, a (James) McLure friend who five years ago first directed the play at Sacramento's B Street Theatre. ...a director who trusts actors' instincts, he brings together a handpicked group of Bay Area talents to fill out the four-member cast and to tell a modern story about a loving but dysfunctional family, the McDavises of Reevesville, LA. Their performances and Sonkin's direction are so right, so honest, so carefully measured, that a playgoer may get lost in this touching story worthy of greater celebration." --Vacaville Reporter
The Producers (Solano College Theatre)
Arty Awards: Best Production, Best Director of a Musical
"Producers' Dazzles at SCT! Directed by savvy Bay Area comedian and actor Ken Sonkin, a longtime Mel Brooks fan... In the hands of Sonkin and choreographer Lisa Clark-Schmeling, the scene swells to increasingly pleasurable heights that astound in their cohesive, jaw-dropping theatricality. A coup de theatre that is joyously volcanic, it is the best Act 1 closing number in SCT's recent history. Could it be more perfect?" --Vacaville Reporter
Arty Awards: Best Production, Best Director of a Musical
"Producers' Dazzles at SCT! Directed by savvy Bay Area comedian and actor Ken Sonkin, a longtime Mel Brooks fan... In the hands of Sonkin and choreographer Lisa Clark-Schmeling, the scene swells to increasingly pleasurable heights that astound in their cohesive, jaw-dropping theatricality. A coup de theatre that is joyously volcanic, it is the best Act 1 closing number in SCT's recent history. Could it be more perfect?" --Vacaville Reporter
The Producers (Solano College Theatre)
Elly Awards: Best Production, Best Director of a Musical
"Big, Gaudy, Hilarious, and Kinda Naughty! Mel Brooks’ farce pokes fun at everybody and typically is refreshingly politically incorrect. The Producers was fast-paced, feverishly funny, and absolutely flawless. Hats off to director Ken Sonkin!" --Wading In
Elly Awards: Best Production, Best Director of a Musical
"Big, Gaudy, Hilarious, and Kinda Naughty! Mel Brooks’ farce pokes fun at everybody and typically is refreshingly politically incorrect. The Producers was fast-paced, feverishly funny, and absolutely flawless. Hats off to director Ken Sonkin!" --Wading In
Humble Boy (Ross Valley Players)
"The Bee's Knees: directed by multi-talented Ken Sonkin, Humble Boy is a darkly funny and wonderfully touching examination of personal aspirations, family relations, and understanding that comes too late." --Pacific Sun
"The Bee's Knees: directed by multi-talented Ken Sonkin, Humble Boy is a darkly funny and wonderfully touching examination of personal aspirations, family relations, and understanding that comes too late." --Pacific Sun
The Three Musketeers (Sonoma County Repertory Theater)
Best of the North Bay
"Directed with fast-paced energy and an eye for spectacle by Ken Sonkin, this is the kind of play that makes kids fall in love with the stage and reminds their parents and grandparents how much fun live theater can be. Amid all of the outlandish spectacle and cleverness, there is somehow still space for a few authentically moving moments, played with heartbreaking sincerity. This is the summer show to see, a big-hearted, action-packed confection, luscious and tasty from the first 'all for one' to the last 'one for all.'" --The Bohemian
Best of the North Bay
"Directed with fast-paced energy and an eye for spectacle by Ken Sonkin, this is the kind of play that makes kids fall in love with the stage and reminds their parents and grandparents how much fun live theater can be. Amid all of the outlandish spectacle and cleverness, there is somehow still space for a few authentically moving moments, played with heartbreaking sincerity. This is the summer show to see, a big-hearted, action-packed confection, luscious and tasty from the first 'all for one' to the last 'one for all.'" --The Bohemian
Almost, Maine (California Conservatory Theater)
"California Conservatory Theatre’s production of the charming romantic comedy, beautifully directed by Ken Sonkin, making audiences laugh, coo, even cry." --San Leandro Patch
"California Conservatory Theatre’s production of the charming romantic comedy, beautifully directed by Ken Sonkin, making audiences laugh, coo, even cry." --San Leandro Patch
Sleuth (California Conservatory Theater)
"Twists And Turns Make 'Sleuth" A Stage Treat. Starring Julian López-Morillas and Stephen Muterspaugh. Kudos to director Ken Sonkin who pulls the audience into a performance that is packed with surprise and delight." --San Leandro Patch
"Twists And Turns Make 'Sleuth" A Stage Treat. Starring Julian López-Morillas and Stephen Muterspaugh. Kudos to director Ken Sonkin who pulls the audience into a performance that is packed with surprise and delight." --San Leandro Patch
Twelfth Night (Sonoma County Repertory Theater)
"As a director, Sonkin has a knack for breathing fresh, exuberant life into familiar works... he brings a sense of showmanship and spectacle to everything he directs. Twelfth Night is a wonderful, actor-driven piece, full of great theatrical moments, cleavage-baring costumes, and told in a simple, dramatic, exciting way." --SF Chronicle
"As a director, Sonkin has a knack for breathing fresh, exuberant life into familiar works... he brings a sense of showmanship and spectacle to everything he directs. Twelfth Night is a wonderful, actor-driven piece, full of great theatrical moments, cleavage-baring costumes, and told in a simple, dramatic, exciting way." --SF Chronicle
The Subject Was Roses (Pacific Alliance Stage Company) Dean Goodman Choice Award, Best Drama
"Lovingly Revived by The Pacific Alliance Stage Company.' It explores all sides of the triangle and all the changes that occur when the son returns. Mr. Gilroy's earnest text comes shining though, its value intact, in this production. The actors (Meg MacKay, Will Marchetti, Steven Rhyne) and director Ken Sonkin understood and respected the playwright's intentions." --Talkin' Broadway
"Lovingly Revived by The Pacific Alliance Stage Company.' It explores all sides of the triangle and all the changes that occur when the son returns. Mr. Gilroy's earnest text comes shining though, its value intact, in this production. The actors (Meg MacKay, Will Marchetti, Steven Rhyne) and director Ken Sonkin understood and respected the playwright's intentions." --Talkin' Broadway
The Subject Was Roses (Pacific Alliance Stage Company) Dean Goodman Choice Award, Best Drama
"You might go to the theater every night for the rest of your life and never have the good fortune to see a cast better suited to a play than the three actors -- Will Marchetti, Meg Mackay, and Steven Rhyne -- currently performing Frank D. Gilroy's The Subject Was Roses at the Spreckles Performing Arts Center in Rohnert Park. It helps, of course, that there are only three because that leaves less margin for error, but the achievement (in which director Ken Sonkin must share) is no less notable. Ken Sonkin's imaginative directorial touch is frequently evident, particularly in exuberant celebratory scenes like the family's noisy return from a baseball game at Yankee Stadium on the second night of Timmy's homecoming. His sound design, featuring snippets from old radio programs, helps to establish a '40s context, as do Mary Jo Goss' fine period costumes. But this evening belongs first and foremost to the actors. Watching them at work from the Condiotti's ringside seats is an experience to be savored." --Marin Independent Journal
"You might go to the theater every night for the rest of your life and never have the good fortune to see a cast better suited to a play than the three actors -- Will Marchetti, Meg Mackay, and Steven Rhyne -- currently performing Frank D. Gilroy's The Subject Was Roses at the Spreckles Performing Arts Center in Rohnert Park. It helps, of course, that there are only three because that leaves less margin for error, but the achievement (in which director Ken Sonkin must share) is no less notable. Ken Sonkin's imaginative directorial touch is frequently evident, particularly in exuberant celebratory scenes like the family's noisy return from a baseball game at Yankee Stadium on the second night of Timmy's homecoming. His sound design, featuring snippets from old radio programs, helps to establish a '40s context, as do Mary Jo Goss' fine period costumes. But this evening belongs first and foremost to the actors. Watching them at work from the Condiotti's ringside seats is an experience to be savored." --Marin Independent Journal
Lil' Darlin' (San Jose Stage Company)
"This San Jose Stage Company world premiere by Will Marchetti takes off like a comedic Dante's Inferno. Finally, after most of the madness has fallen away, Lil' Darlin' unfolds one of its brightest theatrical moments: a tango between Doc (Robert Ernst) and Lila (Frances Lee McCain), both verbal and physical. Not only is the scene bulging with humor, and a picture of timing, but it also explains the moods of tango, its pushes and pulls, its power dynamics, its give and take, the redundant statements seen from different contexts. Everyone—Marchetti and Sonkin, McCain and Ernst—deserves extra praise for this wonderful scene. It's as if, hooking up to the elegant dance era, Doc and Lila might partner their way back to lost feelings—or something like Paradise?"
--MetroActive
"This San Jose Stage Company world premiere by Will Marchetti takes off like a comedic Dante's Inferno. Finally, after most of the madness has fallen away, Lil' Darlin' unfolds one of its brightest theatrical moments: a tango between Doc (Robert Ernst) and Lila (Frances Lee McCain), both verbal and physical. Not only is the scene bulging with humor, and a picture of timing, but it also explains the moods of tango, its pushes and pulls, its power dynamics, its give and take, the redundant statements seen from different contexts. Everyone—Marchetti and Sonkin, McCain and Ernst—deserves extra praise for this wonderful scene. It's as if, hooking up to the elegant dance era, Doc and Lila might partner their way back to lost feelings—or something like Paradise?"
--MetroActive
Les Liaisons Dangereuses (Porchlight Theatre Company)
"When held like a mirror up to our own times, the production offers an uncanny reflection of the dangers of corporate greed, government corruption, and an apathetic and self-interested culture, that characterizes contemporary American civilization."
--SF Bay Times
"When held like a mirror up to our own times, the production offers an uncanny reflection of the dangers of corporate greed, government corruption, and an apathetic and self-interested culture, that characterizes contemporary American civilization."
--SF Bay Times
The Will Rogers Follies: A Life in Review (Solano College Theatre)
"There's no doubt that SCT's "Will Rogers Follies" is easily the best musical I have seen in years. You'll notice immediately a decidedly Ziegfeldian flair to the production - complete with scantily clad beauties and plenty of singing and dancing. Kudos go out to director Ken Sonkin for bringing the show into the 21st century with some poignant observations about our current political world. It is not often that Solano County is treated to a performance on the scale of a Broadway spectacular.” --The Daily Republic
"There's no doubt that SCT's "Will Rogers Follies" is easily the best musical I have seen in years. You'll notice immediately a decidedly Ziegfeldian flair to the production - complete with scantily clad beauties and plenty of singing and dancing. Kudos go out to director Ken Sonkin for bringing the show into the 21st century with some poignant observations about our current political world. It is not often that Solano County is treated to a performance on the scale of a Broadway spectacular.” --The Daily Republic
Forever Plaid (Palo Alto Players, Lucie Stern Theatre)
"Heavenly voices have a winner on their hands with lively 'Forever Plaid.' Director Ken Sonkin and his four actor/singers make use of this rampant anxiety to create dozens of charming comic moments. The thing is, once the Plaids gather their collective gumption and actually sing, they're incredibly good--and that's the whole secret. The show makes some artful detours from shyness and great songs to produce some winning gags, including a brisk choreography with plunger-tipped microphone stands, shamelessly punny takes on their name ("our Christmas album, 'Plaid Tidings'"), the myth-like Tale of Perry Como's Golden Cardigan, and a knock-down, drag-out, three-minute-and-11-second condensation of every silly act ever presented on "The Ed Sullivan Show. Forever Plaid is a massively entertaining show." --Palo Alto Online
"Heavenly voices have a winner on their hands with lively 'Forever Plaid.' Director Ken Sonkin and his four actor/singers make use of this rampant anxiety to create dozens of charming comic moments. The thing is, once the Plaids gather their collective gumption and actually sing, they're incredibly good--and that's the whole secret. The show makes some artful detours from shyness and great songs to produce some winning gags, including a brisk choreography with plunger-tipped microphone stands, shamelessly punny takes on their name ("our Christmas album, 'Plaid Tidings'"), the myth-like Tale of Perry Como's Golden Cardigan, and a knock-down, drag-out, three-minute-and-11-second condensation of every silly act ever presented on "The Ed Sullivan Show. Forever Plaid is a massively entertaining show." --Palo Alto Online
A Funny Thing Happened On The Way To The Forum (Menlo Players Guild)
"Menlo Park's Roman holiday finds its way to 'The Forum' ...such is the wit and clarity of Sondheim's lyrics—teamed with the slapstick gaiety created by director Ken Sonkin and a cast of zanies—that even the throwaway smirks and stammerings get a chuckle, and a Roman salute of pounding one's fist to chest armor and crying "ouch!" almost seems like a fresh comic invention. Anyone with a taste for good old-fashioned cross-dressing, virginity, eunuchs, love potions, lechery, conniving girls, aging satyrs, brothels and belly dancers should have a rousing time at this one." --Palo Alto Online
"Menlo Park's Roman holiday finds its way to 'The Forum' ...such is the wit and clarity of Sondheim's lyrics—teamed with the slapstick gaiety created by director Ken Sonkin and a cast of zanies—that even the throwaway smirks and stammerings get a chuckle, and a Roman salute of pounding one's fist to chest armor and crying "ouch!" almost seems like a fresh comic invention. Anyone with a taste for good old-fashioned cross-dressing, virginity, eunuchs, love potions, lechery, conniving girls, aging satyrs, brothels and belly dancers should have a rousing time at this one." --Palo Alto Online
Moon Over Buffalo (Ross Valley Players)
"Perfect Timing ...director Ken Sonkin masterfully orchestrates a swelling symphony of pratfalls, slapstick, double takes and mistaken identities... impeccable comic timing of most of the verbal horse-play more than compensates." --Marin Independent Journal
"Perfect Timing ...director Ken Sonkin masterfully orchestrates a swelling symphony of pratfalls, slapstick, double takes and mistaken identities... impeccable comic timing of most of the verbal horse-play more than compensates." --Marin Independent Journal
Moon Over Buffalo (Ross Valley Players)
"Director Ken Sonkin not only did a great job of casting, but he created a piece that makes the best possible use of all its finest elements... it is touching, surprisingly warm... Sonkin deepens the effect with gorgeous stage pictures, high pitched moments of both drama and comedy and a delicate appreciation for the weaknesses and strengths of theatre people. He makes his actors, his script and his situation do double duty as both farce and forgiving drama. The whole effect is light and delightful, even as actors are gliding into bone-crushing collisions. And who better to be the subject of emotional, psychological and physical farce than actors? Here, they are the material of the play, not only its performers, and the play made from this material is priceless." --The Commuter Times
"Director Ken Sonkin not only did a great job of casting, but he created a piece that makes the best possible use of all its finest elements... it is touching, surprisingly warm... Sonkin deepens the effect with gorgeous stage pictures, high pitched moments of both drama and comedy and a delicate appreciation for the weaknesses and strengths of theatre people. He makes his actors, his script and his situation do double duty as both farce and forgiving drama. The whole effect is light and delightful, even as actors are gliding into bone-crushing collisions. And who better to be the subject of emotional, psychological and physical farce than actors? Here, they are the material of the play, not only its performers, and the play made from this material is priceless." --The Commuter Times
Moon Over Buffalo (Ross Valley Players)
"Director Ken Sonkin has squeezed every drop of fun out of this script with a charismatic and hopped-up cast, that has dead- on comic timing, great physical comedy and sight gags o’ plenty. They’re as shameless as the script is, whipping around the theatre like a bunch of out-of-control fire hoses, spraying exuberant energy everywhere.” --The Pacific Sun
"Director Ken Sonkin has squeezed every drop of fun out of this script with a charismatic and hopped-up cast, that has dead- on comic timing, great physical comedy and sight gags o’ plenty. They’re as shameless as the script is, whipping around the theatre like a bunch of out-of-control fire hoses, spraying exuberant energy everywhere.” --The Pacific Sun
Charley's Aunt (Solano College Theatre)
"Director Ken Sonkin (SCT’s A Midsummer Night’s Dream in 1996) returns with a seamless version of Thomas’ classic, modified here and there to good effect, namely with a play ending Staussian waltz and dance, a metaphor for love and life. In Sonkin’s hands, [this production] is an example of his style, which maintains character integrity for all its worth." --Vacaville Reporter
"Director Ken Sonkin (SCT’s A Midsummer Night’s Dream in 1996) returns with a seamless version of Thomas’ classic, modified here and there to good effect, namely with a play ending Staussian waltz and dance, a metaphor for love and life. In Sonkin’s hands, [this production] is an example of his style, which maintains character integrity for all its worth." --Vacaville Reporter
Charley's Aunt (Solano College Theatre)
"Charley’s Aunt is a humorous and enjoyable play that is filled with mirth, love, and good-natured fun. The acting in this production is strong, with an encouraging commitment to excellence. Directed by Ken Sonkin, Brandon Thomas’ Victorian romantic comedy is filled with hilarious mix-ups and by the end of the play, true love wins.” --The Daily Republic
"Charley’s Aunt is a humorous and enjoyable play that is filled with mirth, love, and good-natured fun. The acting in this production is strong, with an encouraging commitment to excellence. Directed by Ken Sonkin, Brandon Thomas’ Victorian romantic comedy is filled with hilarious mix-ups and by the end of the play, true love wins.” --The Daily Republic
West Side Story (Solano College Theatre)
Arty Awards: Best Production, Best Director of a Musical
"Directed by the sharp-witted Ken Sonkin, SCT's "West Side Story" is nonstop singing, dancing and acting, leaving the audience, as well as the actors, gasping for breath. From lights up to lights out, Sonkin's production uses every inch of stage space that can possibly be accessed. The maze of ladders, stairs, platforms, entrances and exits astounds the senses. One who is familiar with SCT's productions, would immediately recognize the subtle directions of Sonkin in the small gestures and voice inflections that make this musical such a joy to watch." --Daily Republic
Arty Awards: Best Production, Best Director of a Musical
"Directed by the sharp-witted Ken Sonkin, SCT's "West Side Story" is nonstop singing, dancing and acting, leaving the audience, as well as the actors, gasping for breath. From lights up to lights out, Sonkin's production uses every inch of stage space that can possibly be accessed. The maze of ladders, stairs, platforms, entrances and exits astounds the senses. One who is familiar with SCT's productions, would immediately recognize the subtle directions of Sonkin in the small gestures and voice inflections that make this musical such a joy to watch." --Daily Republic
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