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PRESS

The Skin of Our Teeth in the Press

Check out what the press is saying about Thornton Wilder's The Skin of Our Teeth, on stage at Seattle Rep from Sept. 26–Oct. 20, 2024. This post will be updated with more news as it comes out!

The Seattle Times

REVIEW: "Seattle Rep swings big with surreal classic ‘The Skin of Our Teeth,’" Gemma Wilson

"an energetic, entertaining production"

"After several lean years in the theater, it’s a thrill to see a theater go big, in many senses of the word: a big, gorgeous set (which seems like a real romp for set designer Stephanie Kerley Schwartz); big ideas; big scale — on opening night the three-act play, with two intermissions, clocked in at nearly three hours — and a big cast."

"Rodriguez’s lively, generous production seems to agree with Mr. Antrobus that the human race, and human achievement, are worth fighting for."

BEHIND THE SCENES: "A local, insider’s peek at building an epic theater show"

“'Our production incorporates a ‘past, present and future’ approach to Wilder’s three-act cyclical structure, and takes the play’s ‘fourth wall’-breaking meta-theatricality as far as we can,'” says Dámaso Rodríguez, Seattle Rep’s artistic director and director of the current production of 'Skin.'”

PREVIEW: "6 must-see theater shows in fall 2024"

"Seattle Rep Artistic Director Dámaso Rodríguez helms the project and is producing it in the spirit of the Rep’s beloved Public Works program — as such, it will feature dozens of community performers throughout its four-week run, appearing alongside a cast of 14 Equity actors. 'There’s certain truths about being a human being that defy which century or millennium you’re living in,' Rodríguez said, explaining that the play highlights 'the way we are and how we have and haven’t changed as a species.'"

PREVIEW: The Ticket

"With sets, costumes, and props built by Seattle Rep and dozens of community guest stars, prepare for performances jam-packed with energy. Also making his directorial debut is Seattle Rep’s artistic director, Dámaso Rodríguez—who has a 20-year history with the play. Along with the chaos of the play itself, each performance is sure to take its own unique shape."

British Theatre Guide

REVIEW: "The Skin of Our Teeth at Seattle Rep," Keith Dorwick

"Seattle Rep has done it again in its loving revival of Thornton Wilder’s The Skin of Our Teeth"

"The show moves beautifully through various times... This is a beautiful production"

"Don’t miss this show: it’s thoughtful and well worth the time to go to the Bagley Wright Theater. One of the most interesting of the theatrical experiments of the mid 20th century to grace the American stage, it also is hugely entertaining. No wonder it helped win the Pulitzer Prize for Mr. Wilder, its author; this production makes you see why that had to happen."

Oregon ArtsWatch

INTERVIEW & REVIEW: "Dámaso Rodríguez and the skin of Seattle’s teeth," Misha Berson

"a bold, vibrantly visual and essentially noble calling card for the Rep’s new impresario – and timely too, as we collectively peer over a political and ecological abyss."

The Sound On Stage

REVIEW: "The Skin of Our Teeth," Greg Heilman

"Dámaso’s overall vision for this piece, which is tied together with Stephanie’s scenic design, Robert J. Aguilar’s standard brilliant work in lighting, and M.L. Dogg’s sound design, not to mention Megan Wilkerson’s work with projections, reaches into the heart of Wilder’s story"

"a well done piece of art and a fantastic look into the future of this new artistic director’s vision for the future of Seattle Rep"

"you’ll come away appreciating both the messaging and the production value of this this Pulitzer Prize winning play"

Public Display Art

"An Interview with Dámaso Rodríguez of Seattle Rep" (Page 14)

"Starting with Thornton Wilder's The Skin of Our Teeth, [Seattle Rep Artistic Director and The Skin of Our Teeth director Dámaso Rodríguez] finally begins to bring to life his vision of the works he hopes will excite and encourage Seattle audiences. 'I'm loving it,' he says. 'It's very exciting. This is now my chance to introduce myself as a director to the artists and community.'"