The Screwtape Letters
Stagebuddy.com Article: Click HERE.
"Wight infuses her turn with a striking physicality..."
--New York Post
"Wight's performance consistently displays a grace and physical humor that is most welcome..."
"Ms. Wight carries out her role's growling and bone-gnawing with undomesticated charisma."
"Karen Eleanor Wight's physical work as the imp Toadpipe is exceptional...[her] ability to switch and create new characters was terrific...[she] added an element of humor that helped lighten the evening."
"...she moves about the stage with the fluency of a ballerina..."
--Lighting & Sound America
"I mean no disrespect to the estimable writing team of McLean and Fiske - who are Screwtape and Director, respectively - or to their superb technical staff, but the best reason to see this production is Wight."
"...she manages not only to enact all the other parts... but to convey the degraded animality of pure evil. Slithering around a distinctly dank and dungeoun-like set, her creepy pantomimes brilliantly counterpoint Screwtape's bombastic rants."
--Blog Critics Magazine
"His constant companion is the fantastical creature, Toadpipe played with a fluidity, humour and grotesqueness by Karen Eleanor Wight."
--Islington Gazette (UK)
"...Toadpipe, ably played with ferocious frisson by Karen Eleanor Wight. Her performance provides important balance, giving the audience a dynamic, visual counterpart to Screwtape's word-heavy didactics."
"The creature is played with sinuous conviction by Karen Eleanor Wight who originated the part in New York."
For Press Release: Click HERE.
"At the risk of sounding irrationally hyperbolic...the first time I saw Karen perform (with the wonderful Asaf Ronen) I was moved, transported to a different time, place and sensibility. Her art is graceful, smart, challenging and aware. There are very few actors who improvise that can pull that off. She is one of my favorites in a field of many."
A.D.D. Comedy Podcast
Former Artistic Director of The Second City, LA
"Karen Wight's understanding of movement and physicality adds another dimension to improvisational comedy. Getting trapped in a 'talking heads' scene becomes impossible after working with her. Her teaching style is gentle and direct, a completely unintimidating introduction to the world of physical comedy."
--Jill Bernard, Director of Education
Twin Cities Improv Festival, Minneapolis MN
"Imp. is one of the most original, breathtaking shows I have ever witnessed. The magic that Asaf Ronen and Karen Wight bring to the stage is brilliant in its execution, engaging in its playfulness, and inspirational...Everyone needs to see this wonderful show."
--Kevin Patrick Robbins, Executive Producer
Toronto International Improv Festival
"Both Asaf and Karen possess great physicality that gets expressed through their bodies and faces with a skill that harkens to both silent movies and the great traditional clowns of Europe. Imp. is a delightfully imaginative and quite wonderful performance..."
--Jonathan Pitts, Executive Producer & Festival Director
Chicago Improv Festival
"Imp. embraces the power and potential of physical storytelling and takes it to new heights with their brilliant improvisational chemistry. Karen Wight is a dynamic performer whose strong technique and contagious playfulness make Imp. a joy to watch. Asaf Ronen's mischievous mind and wide emotional range help to fuel Imp.'s comic vignettes. Imp. is an impressive, original, and hilarious show that is entertaining as it is timeless."
-- Sammy Wegent, Executive Producer
Gulf Coast Comedy Festival
Time Out New York Review: Click HERE.
Velvet Park Article: Click HERE.
"Wight is by far the strongest performer- her facial expressions and mimed props add the most wit and humor to the show."
--Washington Square News
"Smart and Stealthy, goga offers an improvisational slow burn, gradually and patiently raising the stakes until you find yourself sucked into their world."
--Time Out New York
"goga plays up, rather than down, to its audiences level of intelligence and sophistication."
"...the characters, choreography, and dialogue were so well drawn, it was almost impossible to believe that the entire show was unscripted and created on the spot."