←Recommendations of A Moving Picture

This is a SEARING play, asking critical questions about our responsibilities as people and as storytellers. It’s fearless and fascinating, and it keeps you on the edge of your seat.

I have never stopped thinking about this play. It has changed the way I operate and interact with art, cinema, and stories from the Holocaust. But more than that, it is the hallmark of strong, three-dimensional, flawed characters that the audience roots for from the beginning.
Honestly, any director would be lucky to work with Jennie Eng on this play.

This one sneaks up on you in startling and traumatic ways. Theatrical, truthful, and provocative, yes, but it also gets to the heart of storytelling and what we owe audiences, ourselves, and the people we write about. Beautiful work.

A really intriguing exploration of the ways we write about, share, perpetuate, co-opt distort, and exploit trauma and historical narratives. Berman Eng has done something original with structure, heightening the theatricality of the piece while simultaneously offering commentary on cinematic storytelling. These distinct characters all have potent motivations for being in this class, and watching them clash and illuminate this discourse on trauma is compelling theater.

A fierce, violent, funny, sad, and thought-provoking new work. The shape of this play is really fascinating and I want to spend a lot of time with it, breaking it apart and seeing how the form of the play supports and subverts the content of it. A fascinating new take on the 'issue play' that challenges the whole notion of the genre. The constant re-living of societal trauma through art is put on trial here and the playwright doesn't allow us to have an easy way out. A true achievement.