Press

MACBETH

“This stripped-down production, directed by Adriana Baer, warns us against the worst parts of ourselves. It’s superb.” – Broadway World

“…outstanding and gritty…” – Judy Nedry, Theatre Critic

BETWEEN RIVERSIDE AND CRAZY

“…a crackling Adriana Baer-helmed production… On the whole, this is a deceptively complex and artfully constructed play, delivered here with terrific verve and attention to detail.” – Oregon ArtsWatch

“Baer takes care of the script… Nothing is what it seems in this perplexing and entertaining look at pride, cruelty and despair in a suffocating city.” – The Oregonian

“[Baer] handles it all deftly… a fascinating look at the complexity of being human… I recommend it very highly.” – Broadway World

THE PRICE

“…directed with taut precision … brilliant staging… if you want to experience important American drama, done pitch-perfectly, you owe it to yourself to see The Price. Attention must be paid.” – Oregon Music News

The Price resonates with allusions to other theatrical forms. Social realism, absurdist tragi-comedy, and Greek tragedy are all rolled into one — a complex, evocative combination that director Adriana Baer skillfully negotiates.”
– The Oregonian

“It’s a specifically New York, specifically 1960s play, and yet under the sure hand of director Adriana Baer, there’s a universality to the explorations of memory, shared experience, even money.” – Portland Monthly

“Watching Artists Rep’s finely pitched new production of Arthur Miller’s play The Price is like listening to a classic piece of chamber music you haven’t heard in a long time… it’s up to the director and actors to carry the play, and Artists Rep’s ensemble, directed sensitively by Adriana Baer, does it beautifully.” – Oregon ArtsWatch

“The ensemble fuels one another throughout this barreling freight train, and Adriana Baer’s direction disappears effortlessly, allowing these powerhouse actors and Miller’s well-crafted text to have center stage.” – Willamette Week

“This is a fabulous production of a fabulous play.” – Broadway World

THE LANGUAGE ARCHIVE

“…a sweet and crisp and revealingly fragile production … [the actors] are among Portland’s finest, and under Baer’s direction they combine sharp comic timing with an emotional undercurrent that brings the deeper meanings home.” – Oregon ArtsWatch

“…imaginative staging…” – Willamette Week

IN THE NEXT ROOM… OR THE VIBRATOR PLAY

“I think [this is] why most of us bother to go to the theater in the first place. Why pay up just to see the same safe stories that leave you cold?… We want to feel something, and with a production like this one, we do.” – Portland Mercury

“As Ruhl writes it, and Adriana Baer directs it for Profile, and her sparkling cast acts it, the [play leads] to some probing explorations of gender, tenderness, emotional fulfillment, and the dawning of women’s rights.” – Oregon ArtsWatch

“Adriana Baer deftly directs Sarah Ruhl’s spin on Victorian sex therapy… An able cast agilely steps from the comic to the tragic.” – Portland Monthly Magazine

DEAD MAN’S CELL PHONE

“Compelling, intelligently wrought” – The Oregonian

“Sparklingly oddball” – Oregon ArtsWatch

“Wes Anderson-style whimsy” – Willamette Week

TRUE WEST

“Adriana Baer directs Profile’s True West with an eye for its swaggering comedy.” – Oregon ArtsWatch

“I had some qualms about reviewing True West. Its world is one where women don’t really exist, and in the wrong hands, I could see it turned into something like Lee’s awful cowboy script. I shouldn’t have worried. … Baer keeps the play focused on Shepard’s original intention that it be an exploration of the self, of ‘what it feels like to be two-sided.’ ” – Portland Mercury

“…energetic, well-shaped and surprisingly humorous production” – The Oregonian

BURIED CHILD

“If you’ve never seen Sam Shepard’s 1979 Pulitzer-winner Buried Child, you’re not going to find a better first time than Profile Theatre’s current staging. …Under Adriana Baer’s direction, Profile’s Buried Child is strikingly clear… It’s rare to see so much purpose onstage, so efficiently communicated.” – Portland Mercury

“Adriana Baer has unquestionably found and communicated both the humor and horror in this play.” – The Oregonian

“Ferocious, raw” – Oregon ArtsWatch

THE ROAD TO MECCA

“Artistic director’s debut is radiant…” – The Oregonian

“…stunning performances… heartrending authenticity…” – Willamette Week

“Baer’s production of Mecca gets deeply into the twists and turns of a very knotty script.”  – Oregon ArtsWatch

MY CHILDREN! MY AFRICA!

“…sensitive, deeply engaging…” – The Oregonian

“Starts with sugar, ends with meat.” – Willamette Week

WOYZECK

“Visually stunning and inventive… Associate Artistic Director Baer gives it a staging that blends expressionist and impressionist approaches… [bringing her] Woyzeck to an intriguingly open-ended close.” – San Francisco Chronicle

“Director Adriana Baer helps focus Buchner’s manic story with a beautifully designed and sturdily performed production.” – The Oakland Tribune

THE MAIDS

“Cutting Ball’s production of The Maids doesn’t feel like a revival at all. It could have been written yesterday, and this staging could be its premiere… Director Adriana Baer makes exactly the right choice… She moves the actors about so fluidly, it feeds that voyeur’s sense: we are spying on the real and secret, not watching actors move around a stage. [It is] a marvelous production.” – SF Bay Times

“Director Adriana Baer packages the tale adeptly in this sexy and provoking production.” – SF Weekly

“Adriana Baer’s taut, intelligent direction makes the most of playwright Martin Crimp’s bracing new translation.” – The San Francisco Bay Guardian

“The script … is putty in director Adriana Baer’s hands … Impeccable direction.” – SF Station

NO EXIT

“Simple, elegant, and brutal.” – The San Francisco Bay Guardian

“The Cutting Ball’s production, with its elegance and force, mines deep into the soul of Sartre’s text, holding up a mirror to human nature.” – Chloe Veltman, SF Weekly

OTHER PRESS

NEW YORK TIMES feature about Profile Theatre and my leadership

OREGON ARTS WATCH feature about my decision to leave Profile Theatre