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ANN KREITMAN
Director - Playwright - Clown
Les Innocents/The Innocents, (re)discover theatre
Interview with Windy City Times
Interview with Vocalo
Interview with WGN 720AM Chicago
Interview with 90.9 WDCB
"(re)discover theater has an excellent knack for playing with your unease and shredding any idea of protective distance from a stage full of powerful, unpredictable feelings. With “The Innocents,” you are invited onto the stairwells, into the crumbling chapels, and down into the cold, dark catacombs of Paris, with creeping hands and eyes coming a bit too close for comfort. The only comfort in these harrowing walls is knowing you’ll be able to escape this communal despair. Right? ...The space provided for non-binary versions of masculinity and femininity is compelling in a way that sets the bar for Chicago theater going forward....Take this weird journey and ask every burning question, just know that someone tore out and ate the answer sheet long ago." Theatre by Numbers
" (re)discover theatre has developed a fascinating, immersive Halloween-themed experience that will thrill the intellect and possibly chill the blood of audiences brave enough to attend...Kudos to the many behind-the-scene artists who made this audience involvement experience happen. They particularly include Ann Kreitman, who both created and directed this ambitious immersive theatre experience..." Chicago Theatre Review
"director Ann Kreitman has a created a thrilling and thought-provoking new theatrical experience. Part musical, part haunted house, and part group therapy for ghosts, (re)discover theatre’s The Innocents takes your hand and leads you down into the deepest, darkest places..." BEST PLAYS IN CHICAGO, Picture this Post
ROW AFTER ROW, The Comrades
"Smartly directed by Ann Kreitman, Jessica Dickey’s seventy-minute play takes off at breakneck speed, uncovering issues of nostalgia, bias, mansplaining, and our relationship to history." - New City Stage, Recommended
Eugenia, FOR ONE, (re)discover theatre
"O’Rourke’s choreography is intriguing, and the three dancers are clearly talented. Their rhythm is spot-on and they are able to successful convey the story through their movement. However, Kreitman’s creativity does not stop there. The way in which Kreitman utilizes the audience is through a series of phone calls – the patron is meant to pick up the phone after it rings, and on the other end, a voice tells the story behind the movement. Suddenly the patron is not only watching the scary story unfold, but can also hear it through a distant voice on the other end. The piece is captivating, and the combination of tech and movement contributes to that feeling." - Picture This Post, Highly Recommended
"My cards took me first to a stairwell, where a ritual performed by Christian teenage girls made my skin crawl....The plays of FOR ONE are haunting, soothing, unsettling, heartfelt, sad, and so much more. The varied flavors of the pieces mean that no two rooms and no two audience members’ experiences are alike, except that each iteration of each play is bound by a uniquely intimate connection between actors and audience. This opportunity is not to be missed." - Splash Magazine, Recommended
The Veil, Idle Muse Theatre
"There are several arresting moments in Kreitman’s staging" - Chicago Tribune
Fifty Shades of Shakespeare, (re)discover theatre
"Each piece was re-imagined from the original script, and given a name. "Virginity," (drawn from Act 1 Scene 1of All's Well that Ends Well,) finds Helena asking Parolles how to defend her virginity against the relentless efforts at her seduction by soldiers and men in general. This is artfully reimagined as a 1950s sex education film strip with Parolles as the lab-coated science prof in safety glasses dispensing know-it-all advice to the innocently persistent Helena, who knows better than to take it. This was one of the most fun scenes in the show." —Buzz Chicago, Recommended
"I left your key under the mat, dear" Chicago Home Theatre Festival
"Ann Kreitman and Shaina Schrooten’s I Left Your Key Under the Mat, Dear stood out among these performances. It effectively commented on the responsibilities and confines women endure. The piece captivated the audience, and though actions were happening simultaneously in different spaces, the piece as a whole felt cohesive." - HowlRound
Cry Baby Meets Audrey Hepburn, 20% Theatre
"The adjectives “charming” and “confessional” may seem like an odd pairing, but somehow they both apply to Cry Baby Meets Audrey Hepburn at the Cornservatory. As narrator and protagonist Olya (Shaina Schrooten) recounts her Russian-Jewish upbringing, we see the birth of an inferiority complex. A victim of consumer culture’s misleading fairy tales about love and happiness, Olya is permanently infantilized in a world that moves too fast around her. Special mention must go to Archer Curry for designing some delightful puppet interludes." —The Reader, Recommended
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