Si el teatro ya es de por sí tridimensional, esto es como el salto a una cuarta dimensión. (If the Theatre is already the 3rd dimension, this is like a leap to the 4th dimension.)
               ~ El País, Madrid

INSIDE es magia, comedia, drama, suspense, intriga, juego... es diálogo, expresión corporal, narración… es un todo completo, perfecto, circular, impresionante, carnal. (INSIDE is magic, comedy, drama, suspense, intrigue, play… it is dialoug, corporal expression, storytelling… it is a complete, perfect, round, impressive, carnal whole.)
               ~ WomanWord.com

A vivid and compelling new drama by Ed Cardona, Jr... Timeliness is only the first of this work’s many virtues.
               ~ Dan Gold, New York Times

LA RUTA is a unique experience that is as important as it is transforming... Working Theater has inspirationally gone above and beyond, harnessing the power of theater for change.
               ~ Sarah Lucie, Show Business Weekly

LA RUTA is adventure theater at its best... everyone should rush to get the limited amount of tickets available for this smashing production... you’re in for an unforgettable experience.
               ~ Mark Rifkin, This Week in NY

An immersive experience that's as timely as it is powerful.
               ~ Mark Kennedy, Associated Press

LA RUTA works because of its creative staging and superb acting—and it succeeds because it makes the audience physically uncomfortable and mentally estranged from a topic we all think we know something about. It reminds the audience that their silence around immigration might make them complicit in an unjust system. Even as we quickly learn to despise the smugglers and their co-conspirators, we remember that there are policies behind these stories that often mark the difference between life and death.
               ~ Aura Bogado, the Nation

Change is in the air in Sylvan Oswald's "Nightlands," and neither its beneficiaries nor its potential victims know quite what to make of it... he and his inventive director, Tamilla Woodard, shrewdly double back to the two main characters [pushing]  the action beyond the play’s more purple passages.
               ~ Eric Grode, The New York Times        

Lean in close and pay attention, something is happening here. Tamilla Woodard has taken the words of Sylvan Oswald and given them ample space in which to be presented, heard, and interpreted.
               ~ Catherine Mueller, New York Theatre Review

...Featuring a remarkable, compelling performance by Grant Neale and fluid and often surprising direction by Tamilla Woodard, Polanski Polanski is a show that deserves to be seen again... Woodard roots the piece in a heightened reality that always feels internally consistent. And there's a stunning moment of violent reaction in the middle section where Neale seems to tear at last into the profound rage that must have fueled some of Polanski's actions. It's a shame that the current economics of theatre-making mean that only a couple of hundred people got to see Polanski Polanski in its inaugural run at HERE. Let's hope that gets rectified in the future; Neale, Stanescu, and Woodard are exploring something interesting and vast here, and their work deserves a broad and sustained audience.
               ~ Martin Denton, nytheatre.com

The one-woman show "Where My Girls At?" somewhat ironically labels itself a black lesbian satire. …Satire it is, but don't let a label like that scare you. It's smart, timely, and also downright hilarious… Now, before you get worried that the show is this intense critique of race, gender, and politics, be assured that Mosely and director Tamilla Woodard are also very funny and very good at translating a sense of humor that makes everyone feel welcome. And they do so without compromising on Mosely's excellent writing. They do so without watering down the material to make it more palatable for audiences who aren't exclusively comprised of beautiful black lesbians. This proves once and for all that,  yes, women can be funny. In fact, they can be hilarious. And thank goodness, because I was beginning to give up hope there were funny women out there.
               ~ J. Jordan, nytheatre.com

"Where My Girls At?" written and performed by the talented Micia Mosely, is a laugh-out-loud comedy that pushes the envelope in too many ways to describe…"Where My Girls At?" is a great night out and a shining example of what a talented and flexible mind can do when given the freedom.
               ~ New York Amsterdam News

Expatriate is certainly a force for good on the theatrical landscape... Director Tamilla Woodard’s direction is elegant, organic, and unpredictable.
               ~ NYTheatre.com

Ah Paris, Beacon of Freedom, City of Jazz
With all the theater out there, how inspiring it is to be reminded how invigorating an Off Broadway play can be with just two appealing performers, compelling music and a searching, intelligent script…“Expatriate,” a two-woman production at the Culture Project delivers on all counts...As directed by Tamilla Woodard, it never lags nor gets ahead of itself.
               ~ Andy Webster, New York Times

Great Depth of Characters
The rags-to-riches theme of "Expatriate," Lenelle Moise's new play with music that opened last night at the Culture Project, is familiar stuff. Two black women seeking musical fame in Paris find plenty of heartache along the way - drug addiction, the testing of friendships and the high price of stardom.

Yet as standard as those plot elements are, "Expatriate" delivers them in a freshly imaginative style…The story is told in nonlinear style, with both actresses playing other characters - including Omar, Claudie's drug-addicted twin brother - and is punctuated by songs performed to prerecorded rhythm tracks.

These interludes are powerfully sung and well integrated into the proceedings by director Tamilla Woodard and choreographer Nathaniel Nicco Annan, giving the evening a soulfulness and depth...

               ~ Frank Scheck, New York Post

Director Tamilla Woodard and choreographer Nicco Annan match the material with a striking physical language. Scenes are peppered with suggestive movement, so that certain words provoke a stylized sweep of the arm or slow drop to the ground. These gestures are used sparingly enough to be evocative, giving the production an elegant, mysterious tone...
               ~ Mark Blankenship, Variety

Paris is Burning
"Expatriate" turned out to be a well-composed reflection…Because Moïse wrote the play, the smooth way her character worked with Mosley’s surprised me. The characters flowed together as if the actors composed it simultaneously. Also, by standing in the shadows of the stage they convincingly acted out the few male parts in the play without it being distracting. Both merits also attest that director Tamilla Woodard did her job.
               
~ Linnea Covington, New York Press

Adapted with sensitivity and skill by theatre professionals Sharahn LaRue McClung and Tamilla Woodard (who also provides keen direction), and performed by a committed, energetic ensemble of three professional actors and a live DJ, the nearly 20 stories take the audience on a vivid roller-coaster ride of growing up, surviving, and overcoming adversity in the city.

Woodard and McClung have spun these stories into a highly-polished, entertaining piece that moves forward with a brisk pace, slowing down to let us experience a few select moments of emotional difficulty, but quickly moving forward before discouragement or angst sets in. While the show talks about guns, drug-dealing, peer pressure, and the violence that these youth face, there is a clear intention to keep the tone positive... "Here. This. Now." succeeds as an uplifting piece of documentary theatre. The show introduces us to some real heroes of our city - and to the visionary not-for-profit organization that has helped empower them.

               ~ Jason Jacobs, nytheatre.com

…it's a hidden jewel of the fringe. 5/5 stars.
               ~ Bernie Greenwood, Hairline Magazine (UK)