VICTOR
“Love Among the Shadows in Edgar Oliver’s ‘Victor’ In this haunting memoir of his relationship with a homeless man, Mr. Oliver confirms his status as a poet laureate of New York’s dispossessed. ”
Ben Brantley (Critic's Pick)
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VICTOR
“...Oliver’s stage persona is captivatingly paradoxical: he lets the audience into the deepest parts of his memories and self-reflections, while at the same time insisting on his own shyness... I could listen to Edgar Oliver tell stories for hours, and thanks to his status on the downtown stage, I can. This particular story, far from being exploitative, introduced me to the work of another great artist: the poet and illustrator Victor Greco.”
—THE THEATRE TIMES
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VICTOR
“Those were happy days,” Edgar Oliver intones in his unplaceable lilt, somehow both animated and deadpan, as his hand drifts downward like a falling leaf. “Why do we survive them?” Like a dying breed of downtown New Yorker crossed with an extraterrestrial ghost, Oliver has rematerialized to deliver his latest fond, funny, strange, elegiac memoir-monologue about “the sorrows of men who live alone in rooming houses,” this time about his beloved friend and neighbor Victor Greco, who died in February and who was homeless for the last ten years of his life. Sensitively directed by Randy Sharp, with a suitably sepulchral set (by Chad Yarborough) and lighting (by David Zeffren) and live music by a guitar-cello-piano trio led by Paul Carbonara, the show gives the impression that the shy loner onstage has had a far richer social life than most of us will ever have.”
Rollo Romig
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VICTOR
“How Do You Translate Desire and Longing Into Theatre? By ELIZA BENT”
—TDF Stages
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Last Man Club
“'Last Man Club' is both feeble and full, real and not real, hopeless and hopeful, mean and meek, starved and sated. In other words, the play is many things all at the same time, but mainly a full meal of a theatrical experience that has a depth that only an ensemble group like Axis can bring to it...The actors and the directing are all spot-on bringing their talents to bear, blending the darkness of life with the only thing that keeps us alive, that spark of hope, whether real or imagined.”
—The Front Row Center
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Last Man Club
“There are no sure bets in theater. That's the excitement and reality of live performance and creative risk taking. There are, however, reliable pockets of extraordinary levels of sustained excellence. One can presume a visit to the small Greenwich Village basement space of the Axis Company will include mind-blowing ambiance. 'Last Man Club' beautifully overloads the senses and transports you to the Dust Bowl in the 1930s.”
—Joe Lombardi, Broadway World
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Last Man Club
“...a tense dystopian mood piece from writer/director Randy Sharp at Axis Theater. This one-act historical drama blows in with gale force as Sharp and her creative team unearth the allure and agony of Depression-era manifest destiny compounded by an environmental crisis.”
—Derek McCracken, Broadway World
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Last Man Club
“...the bold standard of boundary-breaking Off-Broadway theatre...with costumes seemingly plucked from Steinbeck’s 'The Grapes of Wrath', and a cast of Axis rep veterans, this study in loss and borderline despair may sound bleak on steroids, but I assure you the script, direction (both by Randy Sharp), design, and actors elevate it to something as raw as it is wistful, wrapped in humor and drama.”
—City Guide New York
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Strangers in the World
“…a moving, stylized theatre piece…The acting is exceptional. Each character is individualized by gesture and tone. Their dilemma is poignant, and the repeating phrases are almost incantatory…’Strangers in the World’ makes these people feel contemporary as they struggle with forbidden urges and the desperate longing to be perceived as worthy of grace, blessing, and salvation.”
—New York Theatre Wire
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HIGH NOON
“The ensemble acting maintained a sense of truth amid such abstraction with line readings that put any number of moments in abrupt, sharp focus. The staging had a certain formality that suggested an element of ritual. After all, this story is cyclical, a constant churn of justice and the lack of it...I found (it) Brechtian, offering no release from the issues at hand. Any traditional ending would suggest that justice of some sort wins out... 'High Noon' became a dense, provocative, complicated nexus of ideas – the sort that’s possible off-off-Broadway.”
—David Patrick Stearns, Arts Journal
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HIGH NOON
“You can drop kick any cinematic nostalgia of Gary Cooper, Grace Kelly, and assorted bad guys back to 1952. Axis Theatre’s adaptation of Hollywood’s quintessential Old West showdown has been given a new, lushly surreal life with a company that paints the material and their characters with strokes of conflict—both internal and verbal.”
—City Guide New York
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Seven in One Blow, or The Brave Little Kid
“Inspired by the Grimm’s Fairy Tale also known as “The Brave Little Tailor”, Randy Sharp’s adaptation invests it with additional American pop cultural resonances and plays a lot with gender roles....There’s a sweet, magical simplicity to sets and costumes that remind me of old school kid’s tv from back in the 50s and 60s...The show made me so happy it’s more than likely that I will return to see it next year.”
—Trav S.D., TRAVALANCHE
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Edgar Oliver's New York Trilogy
“… Oliver’s a genius, and dispossessed. He’s the James McCourt of the American stage, a gay man not inebriated by but still prone to dreaming about Poe … He’s a frightening performer, so utterly himself that you can’t compare him to anyone out there, nor can you compare his work to the synthetic or stupidly crafty stuff that passes as theatre nowadays. Oliver, by example, reminds you that theatre first began as a way of making poems live, and gives voice to stories that couldn’t be told any other way.”
Hilton Als
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Attorney Street
“... extraordinary ... in 'Attorney Street,' (Edgar Oliver's) seriously haunting new performance piece ... the phantoms summoned by this one-of-a-kind monologuist are both vivid and elusive, as such manifestations must be ... Mr. Oliver's tone often seems poised between that of Dickens and Edgar Allan Poe, with perhaps a touch of Tennyson's memorializing rapture. Mr. Oliver is, above all, an elegist, as so many 19th-century writers were.”
Ben Brantley
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Attorney Street
“The autobiography of Edgar Oliver hauntingly describes and defines what it means to be human. For those who've experienced real loss, unanswered love, abandonment, loneliness, guilt, disappointment, or regret, this performance will reach deeply into their souls. For those who've been fortunate enough to live lives of ease, comfort, and acceptance, Attorney Street will open their hearts and mind to the human condition, and reveal what it means to truly be alive.”
—Plays to See
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Attorney Street
“The piece is a brief anthology of farewells, to a bakery in an earlier New York, to a lost poem, to a father he never knew. There's a feeling of suspended time: Oliver sometimes seems like a time-traveler buffeted by our too-noisy world ... lyrical ... heartbreaking...”
Helen Shaw | 4 STARS
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Attorney Street
“(Edgar Oliver) is funny and warm, wide-eyed and thoughtful, charming and vulnerable ... (his) storytelling and performance are intimate and personal ... Attorney Street is a genuinely special night of small pleasures in the downtown theater.”
—Front Row Center
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Attorney Street
“Edgar Oliver, Actor and Raconteur, Hews to His East Village Past ”
Evening - 1910
“Before Saturday night’s performance of 'Evening — 1910' was through, I knew I would want to hear its music again: those strings, those harmonies. In its score, the creators of this sung-through show, Randy Sharp and Paul Carbonara, have made something beautiful and delicate…like a sepia-tone memory…the band is excellent, the sound is full and the show is fast and fluid.”
Evening - 1910
“…the most exquisitely crafted music to be heard on the New York stage right now…boast(s) some of the best-crafted lyrics currently onstage…it is certainly a musical journey into the past that’s worth taking.”
The Vast Machine
“...seething with feeling…dark…vivid...the divide between commerce and compassion is made abundantly clear, as is the deserved torment of these sailors, flailing in an inferno of moral retribution.”
The Vast Machine
“…a tense, impeccably designed world premiere production…a fascinating look into an industry that changed the course and the nature of America and, indeed, the entire Western world…an uncomfortable and therefore effective experience.”
—Theater Is Easy
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Bad Kid
“Growing Up Gay, Goth and Generous - 'Bad Kid' is a New York Times Critic's Pick”
Bad Kid
“At Axis, ‘aggressive surrealism’ immerses, engages, messes with you”
—Downtown Express
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The Groundling
“Though it begins as a formulaic showbiz farce, it takes an unexpected swerve toward heartbreak...borrowing a neat trick from Shakespeare, Mr. Palmieri tops off the saccharine comedy with a bittersweet finish...plenty of audience members were dabbing eyes with sleeves and tissues as the lights came up...under Mr. Palmieri’s direction, the cast thrive...”
The Groundling
“... a thoroughly modern, breathlessly comical, arrestingly poignant story of a man trying desperately to make sense of love and loss...this production is a terrific example of what happens when director, actors, and crew are all on the same wavelength...with gut-busting laughs, a stellar cast, and a moving story, The Groundling is one of the surprise downtown gems of the season.”
Solitary Light
“…it will astound you with its uncommon beauty…when the actors step into the light, Karl Ruckdeschel's stunningly authentic period costumes come into full view…everyone in the ensemble sings like an angel…among the most beautiful music heard on the New York stage this season…Sharp and Carbonara have created an emotional soundscape…Sharp's stage pictures paired with Carbonara's magical melodies make for a pleasant …hour in the theater. ”
In the Park
“…emotionally grand work … ’In the Park’ (respectfully directed by Randy Sharp), is so beautiful—so enthralling in its undisguised but never tedious self-absorption, in its command of the spoken word, and in its demand for love—that to remain unmoved by it, or to dismiss it as fairy folderol, begs the question: Why? ... (it is) an enormous leap into autobiographical brilliance … ’In the Park’ is a love story about moments and sensations…”
Hilton Als
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In the Park
“(Oliver’s) performance is a joyous ode to melancholy and solitude … startlingly beautiful … 'In the Park' celebrates Oliver's love of the natural world and the profound pleasures he finds in a life of solitary contemplation … The New York theater scene is richer for small, meditative, verbally textured pieces like this.”
In the Park
“'In the Park' manically enchants with gruesome, erotic brevity … what makes this Walser-esque daisy chain of pastoral vignettes cohere is Oliver's perverse enthusiasm … the monologue's lyricism makes all his obsessions seem equally compelling…”
Last Man Club
“...(an) atmospheric, expertly structured one-act drama...the Dust Bowl illusion is masterly...(a) story of deception, despair and some surprising aspects of persistent hope.”
Last Man Club
“Dust Settlers Follow a Storm”
—By Lana Bortolot, The Wall Street Journal
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Last Man Club
“...Axis Company offers a deeply unsettling sensory overload in their dark and disturbing play about die-hard survivors of the Dust Bowl.”
Zachary Stewart
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Down There
“I am in awe at the accomplishment of 'Down There': this is genuinely cathartic theatre that enlarges our understanding of the human condition in an important way. It is harrowing and disturbing… it's compassionate and horrified in its examination of what our species proves that it's capable of.”
—Martin Denton, NYTheatre.com
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East 10th Street: Self Portrait with Empty House (Edinburgh Festival Fringe)
“...sweet and sinister...Mr. Oliver is a living work of theater all by himself.”
Ben Brantley
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Hospital 2009
“Coma Chameleon | A serialized play that has followed an unconscious man's interior world for 10 years returns for another short stay”
—Mark Blankenship, New York Press
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Trinity 5:29
“... extraordinary and intense ... 'Trinity 5:29' is a work of theatre that needs to be experienced ...”
—Martin Denton, NYTheatre.com
Trinity 5:29
“... a wonderfully extravagant production ... impressive ... compelling ... Axis Company manages to tickle the audience intellectually and visually.”
—New Theater Corps
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Trinity 5:29
“... terse and cryptic ... fascinating ... a worthy examination of historical significance ... spooky ... meticulous ...”
—OffOffOnline
East 10th Street: Self Portrait with Empty House
“... Edgar Oliver('s)... guileless and charismatic weirdness is pretty irresistible ... a taut and utterly involving hour. It is very funny, and also oddly touching and affecting. It makes us hungry for more ...”
—Martin Denton, NYTheatre.com
East 10th Street: Self Portrait with Empty House
“... heartwarming and heartbreaking, the production masterfully captures the idiosyncrasies (of) city living ... Oliver's sweetly off-kilter delivery ... his nostalgia for the past, combined with his focused engagement with the present, make (him) a masterful storyteller.”
—OffOffOnline
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East 10th Street: Self Portrait with Empty House
“Oliver delivers his tale with grace and honesty; the show seduces as an artifact of a New York that is endangered, if not extinct.”
—Show Business Weekly
East 10th Street: Self Portrait with Empty House
“... theater at its purest... he takes the stage and... you can see why the man is a downtown legend... darkly hilarious, heartbreaking...”
—theatreiseasy.com
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East 10th Street: Self Portrait with Empty House
“Nowhere do the lines between legend and history, living and haunting, so noticeably blur … you’ll want Edgar Oliver to tell (the story) …”
—Backstage - Critics Pick
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East 10th Street: Self Portrait with Empty House
“… a cast of unforgettable characters and so, so many comedic … and sharply bittersweet moments..”
—Toxic Pop
Hospital 2008
“... a Lynchian balance of horror, humor and weirdness... leaves the audience amused ... ready to return for the next episode.”
—Flavorpill
Hospital 2008
“..arresting, thrilling, tantalizing, and—in terms of its physical production—spectacularly impressive.”
—nytheater.com
Hospital 2008
“... a highly pleasing piece of absurdity.”
—British Theatre Guide
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Hospital 2008
“... from scary to hilarious and back again.”
—NY Daily News
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Hospital 2008
“... the annual production of 'Hospital' is one of the few reasons to stay in New York for the summer ... it is surprisingly bizarre, heartbreaking, and hysterical.”
—OBSCENE JESTER the performance art blog
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A Glance at New York
“Sharp's adaptation of ...A Glance at New York is stylistically impressive. ”
—Edinburgh Evening News
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A Glance at New York
“[Axis] bristled with energy and absolutely rippled from the moment the ensemble catapulted from behind the simple red curtain. ”
—Total Theatre
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A Glance at New York
“[Axis has] managed to creat one of the freshest pieces of theatre on the Fringe.. ”
—The List (Edinburgh)
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Seven in One Blow, or The Brave Little Kid
“The sterling Off-Broadway theater group the Axis Company has created a wonderful new holiday tradition ...”
—OffOffOnline
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Hospital 2005
“One of the brightest stars in the Off-Off Broadway firmament...”
—Time Out New York
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Hospital 2004
“…a clinical Alice in Wonderland, just as enjoyable and fascinating as it is convoluted…Hospital offers an incredibly accessible and artistically rich experience that will keep the audience coming back for more.”
—OffOffOnline
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In Token of My Admiration
“In exploring the Hawthorne-Melville relationship, the company again proves itself to be an exciting, evolving presence on the downtown theater scene. ”
—TheatreMania.Com
In Token of My Admiration
“...truly experimental...it is playful, odd, resonant, sometimes poetic and occasionally puzzling. That's just what you ought to find in basement theaters on Sheridan Square.”
In Token of My Admiration
“Axis Company's narrative exploration of the friendship between literary luminaries Nathaniel Hawthorne and Herman Melville might be based on historical facts, but its approach is purely imaginative. In Token of My Admiration envisions conversations between the two men through poetic dialogue, film, and even an inspired vaudeville act. Using a sparse, industrial space with a small stage and three screens, the scenes focus on lean dialogue between the two stage performers and the actors on film. The conversations are mostly suggestive, however, and it's left to the audience's own imagination to fill in the blanks. ”
—Flavor Pill
USS Frankenstein
“...the roles are so deeply realized and the physical presence of the clanking, groaning hull of the disintegrating ship so threatening that the 40 minutes of this play tickle and torment one for days.”
Seven in One Blow, or The Brave Little Kid
“...what could be better than a play that asks you to shout? Well, one that asks you to sing... All this fun is part of an updated version of ''The Brave Little Tailor,''...My son also thought of another reason that ''Seven in One Blow'' is the greatest play ever: the actors pass out candy at the end.”
Chosen by Time Out New York as one of the top ten reasons to applaud New York Theatre
Chosen by The Village Voice: Only the Best: Fall 2001 Arts Preview
"...creates a compellingly unsettling evening...[which] reflects Axis's clear and powerful artistic vision."
–The New Yorker
"...a welcome spark... the evening is a vivid study in honor and its discontents."
– The New Yorker
"Seamless is the word I'd use to describe the Axis Company's new production ..."
–Time Out New York
"...check out this production by a theatre company which is emerging as an important force."
–nytheatre.com
"... so mind boggling the first time around that a second visit was required.... a promising aesthetics in progress."
–The Village Voice
"These people are really doing the most innovative and compelling work around...best use of film in any theatre I've ever seen...Very funny, unpredictable... an atmosphere heady with history...I'm so grateful [they're] in my neighborhood...[They've] got something going there I've never seen the likes of."
–Janet Coleman WBAI Radio
"Credit is due to this rather bold company with a distinctive mission, vision and talent to make it happen."
–Show Business Weekly
"...A thought provoking production...an apple pie holocaust!"
–TheatreMania.Com


Axis Company is represented by:
Blake Zidell & Associates - Press
718-643-9052
blake@blakezidell.com