The Count of Monte Cristo:
“Freeman possesses the leading-man looks and charisma that make Dantes heroic. He maintains a cool demeanor, and his flair for swordplay adds energy to Jesse Holland's fight choreography”
- Backstage West

“Clark Freeman makes a dashing Dantes. . . . Freeman and Lora have a particularly
effective scene in Act 2, where Dantes confesses his secrets to Mercedes”
- LAStageScene.com

Quarterlife: LA Weekly Theatre Award Nominee ‘06
"The Progeny of Generation X meets Lanford Wilson...quite funny...intelligently written...a solid physical production and some pert performances under Matt Doherty's direction."
- L.A. Times

"Excellent Ensemble cast in this character driven story that is truthful and honest, with a lot to say."
- American Radio Network

"Forman perceptively examines the rituals of intimacy and competition, and the buried hostilities that lurk beneath facades of love and friendship...Director Matt Doherty and his fine cast ably explore the emotional depths and shallows on the homey, atmospheric set by Michael Brainerd...Funny and Apt."
- L.A. Weekly (RECOMMENDED!)

Monster:
“Freeman makes a touching figure of the Creature”
- LA Weekly (Recommended)

“The Creature is "born" in a harrowing scene, as gruesomely made-up actor Clark Freeman convulsively reacts to an unwelcome flood of new experience. As the impossibility of finding love or acceptance quickly transforms him into a figure of rage, cunning and vengeance, Freeman's monster has soul-searching exchanges with creator Victor (Michael Laurino)”
- LA Times

“Director Andy Mitton crafts a glitteringly imaginative staging full of organic acting. . . Freeman is unexpectedly likeable as the Monster”
- Backstage West

One Flea Spare:
“Freeman is startlingly good in a performance so convincing he seems plucked directly from antiquity.”
- LA Weekly (Recommended)

“Freeman and Matus deliver luminous portrayals of lonely souls who connect across class lines. ...Under Sam Roberts' direction, the show is moodily evocative."
- LA Times

"The dialogue is sharp and often scathingly funny, delivered with assured comic timing and emotional wisdom by the crack ensemble, which is unusually effective at hinting at th chasm of class differences that yawns between them. Laurino is enthralling as the tightly wound, but quickly unravelling William, who locks horns with Freeman's gruffly earthy Bunce.”
- Backstage West (Critic’s Pick)

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