The Skin of Our Teeth
“Rorschach Theatre is making a vigorous case for Thornton Wilder's Pulitzer-winning 1942 play in a visually astute, sneakily immediate production at Georgetown University. It's as if director Rahaleh Nassri and her cast see no difficulties, only opportunities as the ramshackle story grapples with the never-ending plight of mankind.”— The Washington Post
A Bright Room Called Day
by Tony Kushner
“Rorschach Theatre is the right company to embrace the overstatement, and director Rahaleh Nassri's production is tough-minded and, in its way, beautiful. Not handsome, and never pretty -- Jacob Muehlhausen's set is a cheap 1930s Berlin room with bad wallpaper and lighting that Nathaniel John Sebastian Sinnott keeps low, whether it's for a candlelight dinner or because everyone's beginning to hide from the Nazis.”
— The Washington Post
BREATH, BOOM
by Kia Corthron
“Warning to claustrophobes: The prison experience feels unnervingly real in "Breath, Boom," director Rahaleh Nassri's chilling production of Kia Corthron's play at Studio Theatre…The wily staging strategy suits Corthron's drama, which traces Prix's progress from a remorseless adolescent -- calmly ordering vicious attacks on gang sisters and enemies -- to a grown-up crack dealer losing her grip on power, to an ex-convict fumbling with normal life.”— The Washington Post
THAT FACE
by Polly Stenham
“Rahaleh Nassri's production shows great faith in the playwright, though. The evening features a simple upscale look that efficiently evokes London's well-off, and the acting meets the writing's earnestness head-on. This in-yer-face drama -- a recent British genre featuring aggressive themes, language and action -- won't exactly leave you gobsmacked, but it certainly serves notice of young Polly Stenham's name.” — The Washington Post
FVCKING A
by Suzan-Lori Parks
“We’re in trustworthy hands with the dynamic combo director team of Keith Alan Baker and Rahaleh Nassri who are so in tune to her that they guide the production through particularly confusing terrain, when even Parks herself doesn’t seem to know what the F’!! is going on.”
— dctheatrescene.com
“Do not attend "[Expletive] A," -- a show that dares not speak its name in a family newspaper -- on a day when the world feels as if it's closing in. Or maybe even when one of your cuticles hurts.”
— The Washington Post
Benedictus
by Motti Lerner
“The setup of "Benedictus" sounds as if it were concocted for one of those geopolitical thrillers you buy in an airport bookstore: On the eve of a threatened U.S. bombing of Iran's nuclear installations, an Israeli arms dealer and an Iranian ayatollah meet secretly at a Benedictine monastery in Rome to try to stop the attack. Iranian-born director Rahaleh Nassri keeps the proceedings on a lucid axis— The Washington Post
Michael Kramer and Michael Tolaydo in Benedictus.