ACTING
"... a bold work of postmodern feminist art by Moxley, a Dublin-based playwright and actor... The performances are clever, from the actresses’ barbed line deliveries to their exaggerated physicalities. There’s a biting wit to Moxley’s acting in particular. Her shrewd caricatures of these supposedly respectable doctors feel justified, audits of their toxic psychology." New York Times (Critic's Pick) on The Patient Gloria - St. Ann's Warehouse
"The Irish playwright Gina Moxley, a spritely, spirited presence onstage, performs to raucous, cutting effect in The Patient Gloria, at St. Ann’s Warehouse." The New Yorker on The Patient Gloria - St. Ann's Warehouse
"The audience is gripped from the onset – we laugh at Moxley’s outlandish acting style, wince at the abject horror of every woman's story and feel hope that things can be different in the future. I haven’t seen a theatre show that kept me so engaged from start to finish in a long time." The Arts Desk on The Patient Gloria - Theatre Royal, Brighton
"The joy Gina Moxley gets from playing comic caricatures of the three men, in a story which also powerfully draws on her own life, radiates from the stage." The Scotsman on The Patient Gloria - Traverse Theatre, Edinburgh
"The bawdiest performance of the year." Exuent Magazine on The Patient Gloria - Traverse Theatre, Edinburgh
"From a superb ensemble cast of 18 actors, some performances stand out: Gina Moxley’s baffled Helena, fending off the attentions of Lysander, played with irrepressible skittishness by John Kavanagh." The Guardian on A Midsummer Night's Dream - Abbey Theatre, Dublin
"The play’s wisdom comes from Hamm’s dying parents Nell and Nagg, who, played superbly by Gina Moxley and Sean McGinley." The Irish Times on Endgame - The Gate Theatre
"The Irish playwright Gina Moxley, a spritely, spirited presence onstage, performs to raucous, cutting effect in The Patient Gloria, at St. Ann’s Warehouse." The New Yorker on The Patient Gloria - St. Ann's Warehouse
"The audience is gripped from the onset – we laugh at Moxley’s outlandish acting style, wince at the abject horror of every woman's story and feel hope that things can be different in the future. I haven’t seen a theatre show that kept me so engaged from start to finish in a long time." The Arts Desk on The Patient Gloria - Theatre Royal, Brighton
"The joy Gina Moxley gets from playing comic caricatures of the three men, in a story which also powerfully draws on her own life, radiates from the stage." The Scotsman on The Patient Gloria - Traverse Theatre, Edinburgh
"The bawdiest performance of the year." Exuent Magazine on The Patient Gloria - Traverse Theatre, Edinburgh
"From a superb ensemble cast of 18 actors, some performances stand out: Gina Moxley’s baffled Helena, fending off the attentions of Lysander, played with irrepressible skittishness by John Kavanagh." The Guardian on A Midsummer Night's Dream - Abbey Theatre, Dublin
"The play’s wisdom comes from Hamm’s dying parents Nell and Nagg, who, played superbly by Gina Moxley and Sean McGinley." The Irish Times on Endgame - The Gate Theatre
DIRECTING
"Gina Moxley’s production for Rough Magic is warm and funny, full of wit and warmth, but it also says something interesting about borders, geographic and emotional both, as well as the act of making work drawn from a person’s own experiences." Exuent Magazine on How to Keep an Alien - Traverse Theatre, Edinburgh
"This little show is a treat, and one to fall in love with." The Guardian on How to Keep an Alien - Traverse Theatre, Edinburgh
"Director Gina Moxley does an outstanding job in creating a space where Preissner blossoms and flourishes under her mentoring guidance. Word of mouth says this is one of the best shows of the festival. But don’t believe the hype, Solpadeine Is My Boyfriend is way, way better than that." The Irish Examiner on Solpadeine Is My Boyfriend
"Gina Moxley’s zippy, warm-hearted production." The Irish Times on The Wheelchair on my Face - Civic Theatre
"Seamlessly directed by Gina Moxley..." The New York Times (Critic's Pick) on The Wheelchair on my Face - 59E59 Theater
"This little show is a treat, and one to fall in love with." The Guardian on How to Keep an Alien - Traverse Theatre, Edinburgh
"Director Gina Moxley does an outstanding job in creating a space where Preissner blossoms and flourishes under her mentoring guidance. Word of mouth says this is one of the best shows of the festival. But don’t believe the hype, Solpadeine Is My Boyfriend is way, way better than that." The Irish Examiner on Solpadeine Is My Boyfriend
"Gina Moxley’s zippy, warm-hearted production." The Irish Times on The Wheelchair on my Face - Civic Theatre
"Seamlessly directed by Gina Moxley..." The New York Times (Critic's Pick) on The Wheelchair on my Face - 59E59 Theater
WRITING
"Over the course of The Patient Gloria, the seriousness of Moxley’s critique of gender and the cramped and incoherent space into which it forces women... keeps brushing up against her unerring instinct for lewd, droll, compelling spectacle. That’s the pattern which makes this tightly compressed, manically active play work.... Moxley has turned pain into a party. By the end, you might be dancing along." The New Yorker on The Patient Gloria - St. Ann's Warehouse
"The script is tangy, whip-sharp and pacey whilst being able to hold and validate some big topics with authority and generosity." The Arts Desk on The Patient Gloria - Theatre Royal, Brighton
“The Crumb Trail is all about the illumination that comes from groping in the dark. Short and concentrated, The Crumb Trail exudes a cool, worldly European disaffection spiked with primal pain." New York Times on The Crumb Trail - Performance Space 122, NYC
"The Crumb Trail fundamentally challenges the idea that the local and specific exist anymore. It proposes a world of personal isolation, electronic simulacra and collapsed narratives in which 'reality' is just another genre. This weightlessness can be exhilarating... there's a relentlessness and full embodied courage to the piece." The Irish Times on The Crumb Trail - Project Arts Centre
"The Crumb Trail is not a nice piece, and it's made even less nice by the superb quality of its presentation. Whether our hearing is damaged or in good nick, we should listen to what it's saying." The Independent on Crumb Trail - Project Arts Centre
"The originality of Gina Moxley’s first play Danti-Dan is that in it we approach the wild borderlands of adolescence almost entirely from the point of view of the child. To the familiar drama of a dominant male exploiting a sexually vulnerable female, Moxley counterposes the unfamiliar and uncomfortable story of Cactus’s sexual exploitation of the even more vulnerable Danti-Dan. This creates the effect that most art strives for: making the familiar strange and therefore powerful. An old story of cruelty and power gets retold with a freshness that demands a hearing." The Irish Times on Danti-Dan by Rough Magic
"Actress Gina Moxley’s first play Danti-Dan leaves one with a strong desire for a bath. It’s a sickening, bleak and cruel vision of childhood- and it will probably rank as one of the year’s outstanding theatrical achievements." Sunday Independent on Danti-Dan by Rough Magic
"Moxley’s script details the painful inarticulacy and emotional callousness of her characters, at times charming and funny and at others disturbing and poignant. Superb." Sunday Tribune on Danti-Dan by Rough Magic
"Think showbands, the mid-1960’s, add the brilliant scriptwriting talents of Gina Moxley to the choreographic beauty of David Bolger and mix it all up with sex and the devil. This unique collaboration taps into the intelligent, clued-up mindset of the outside and the marginalised of the 1990’s... With incredible authenticity yet with touches of surreal, subconscious imagery Moxley’s spoken language and Bolger’s writing on the body, capture the repression and the desire to break out of it. Toupees and Snare Drums is fantastic. For what it sets out to achieve it is flawless. Weighty praise, indeed, but it surely must be a solid gold masterpiece." Irish Examiner on Toupees and Snaredrums by CoisCeim
"The script is tangy, whip-sharp and pacey whilst being able to hold and validate some big topics with authority and generosity." The Arts Desk on The Patient Gloria - Theatre Royal, Brighton
“The Crumb Trail is all about the illumination that comes from groping in the dark. Short and concentrated, The Crumb Trail exudes a cool, worldly European disaffection spiked with primal pain." New York Times on The Crumb Trail - Performance Space 122, NYC
"The Crumb Trail fundamentally challenges the idea that the local and specific exist anymore. It proposes a world of personal isolation, electronic simulacra and collapsed narratives in which 'reality' is just another genre. This weightlessness can be exhilarating... there's a relentlessness and full embodied courage to the piece." The Irish Times on The Crumb Trail - Project Arts Centre
"The Crumb Trail is not a nice piece, and it's made even less nice by the superb quality of its presentation. Whether our hearing is damaged or in good nick, we should listen to what it's saying." The Independent on Crumb Trail - Project Arts Centre
"The originality of Gina Moxley’s first play Danti-Dan is that in it we approach the wild borderlands of adolescence almost entirely from the point of view of the child. To the familiar drama of a dominant male exploiting a sexually vulnerable female, Moxley counterposes the unfamiliar and uncomfortable story of Cactus’s sexual exploitation of the even more vulnerable Danti-Dan. This creates the effect that most art strives for: making the familiar strange and therefore powerful. An old story of cruelty and power gets retold with a freshness that demands a hearing." The Irish Times on Danti-Dan by Rough Magic
"Actress Gina Moxley’s first play Danti-Dan leaves one with a strong desire for a bath. It’s a sickening, bleak and cruel vision of childhood- and it will probably rank as one of the year’s outstanding theatrical achievements." Sunday Independent on Danti-Dan by Rough Magic
"Moxley’s script details the painful inarticulacy and emotional callousness of her characters, at times charming and funny and at others disturbing and poignant. Superb." Sunday Tribune on Danti-Dan by Rough Magic
"Think showbands, the mid-1960’s, add the brilliant scriptwriting talents of Gina Moxley to the choreographic beauty of David Bolger and mix it all up with sex and the devil. This unique collaboration taps into the intelligent, clued-up mindset of the outside and the marginalised of the 1990’s... With incredible authenticity yet with touches of surreal, subconscious imagery Moxley’s spoken language and Bolger’s writing on the body, capture the repression and the desire to break out of it. Toupees and Snare Drums is fantastic. For what it sets out to achieve it is flawless. Weighty praise, indeed, but it surely must be a solid gold masterpiece." Irish Examiner on Toupees and Snaredrums by CoisCeim