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Raves for BAUER in NYC + EMILIE in Boston


New Yorker BAUER review The New Yorker calls BAUER at 59E59 Theaters: “Beautifully written,” “well-played,” “brings it’s audience to tears!” “BREATHTAKING, UPLIFTING & HEARTBREAKING – EXQUISITELY SHARP!” 
-David Finkle, Huffington Post

“LAUREN GUNDERSON’S SKETCHES BAUER’S STORY CLEARLY AND COMPELLINGLY.” 
-Time Out New York

“CLEVER, SMART AND ENTERTAINING!” 
-A Seat On The Aisle

“OUTSTANDING PERFORMANCES!” 
-Stage and Cinema

“BEAUTIFULLY CRAFTED!” 
-Theater Pizzazz

“SOLIDLY CONSTRUCTED!” 
-The New York Times

EMILIE is now playing at Boston’s Nora Theatre at Central Square. Here is a rave in the Boston Globe! 

Nora Theatre's production of EMILE in Boston

Nora Theatre’s production of EMILE in Boston

By Jeffrey Gantz  | GLOBE CORRESPONDENT   SEPTEMBER 10, 2014

“Judy Braha keeps Gardner and Barkhimer orbiting each other, as if they were the halves of a binary star, and by the end the standing ovation — for Emilie, for the play, and for the production — is well deserved.”

And another lovely and thoughtful critique for the Boston production of EMILIE from The Edge

“The play, by Lauren Gunderson, doesn’t barrage the audience with equations or didactic, mysterious jargon. The dialogue sounds natural and timeless to the ear because it’s so effortless, and so contemporary; that is, it’s been composed for 21st Century Americans. The way she sounds to us, Émilie could be living in Fresno this very minute. More importantly, Gunderson finds ways to underscore and illustrate the rational nature of her thesis – that scientific inquiry and discovery don’t stem from authority, and certainly not from the authority automatically invested in men, but rather are there for anyone with the patience, talent, and intelligence to define and pursue them. Truth, in other words, isn’t gender dependent.

Curiously – and slyly – Gunderson presents her play as a lacuna in death’s eternal sleep. Somehow, magically, Émilie – someone possessed of a rational, rather than mystical, sensibility – finds herself resurrected, for one night only. It’s not a religious experience, exactly; Émilie’s theory about it sounds almost Lucretian, resorting as it does to the vastness of space and time to account for her accidental re-creation physically and mentally. It’s as though the particles that composed her being at the last moment of her life had, at some far-flung remove, spontaneously and accidentally reassembled.”

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