The Great Work truly began in 2018

Roth opens up a queer, ambiguous space stretching into different realities and histories where we can all feel lonely and connected at the same time, where we can see the sounds and hear the colors – The Theater Times

… deftly evoke[s] the fleeting transition from wakefulness to dreaming  The New York Times 

…..a lusciously designed, 60-minute queer exorcism that meditates on memory, imitation and decay – The Observer

…immersive fever dream of a production  – The Hangover Report

…..demonstrates, in real time, with the help of a talented live camera crew on a dolly track, how cinema can transform a sad, cluttered room with, say, the black-and-white elegance of a Max Ophüls film, or the lurid Technicolor of a Dario Argento horror movie – The New Yorker 

… a striking visual catalogue of beautiful classic film and mixed-media live performance effects, exploring melancholia, nostalgia, and decrepitude through what seems to be a drug-fueled magic ritual – 

The technical composition of SOUNDSTAGE is flawless. Every detail is curated to maximum effect, and Roth gives a seamless performance. He brings immediacy and life to interactions with Hall’s pre-recorded footage, bringing a vibrancy to each moment, even the slow burns –The Reviews Hub

Absorbing, Epic, Exquisite, Masterful, Riveting –