<div class="slide-title1"><p>April Yvette Thompson is nominated for Drama Desk, Outer Critics Circle and AUDELCO Awards for Outstanding Solo Performance.</p>
</div><div class="slide-credit-b">Photo By Joseph Moran</div> <div class="slide-title"><p>“April Yvette Thompson makes a wonderfully down-to-earth angel.”<br />
<strong>Broke-ology</strong><em> – Louise Kennedy, Boston Globe</em></p>
</div><div class="slide-credit">Photo By  T. Charles Erickson</div> <div class="slide-title"><p>“Thompson provides a serene, significant presence.”<br />
<strong>Broke-ology</strong> – <em>Frank Rizzo, Variety</em></p>
</div><div class="slide-credit">Photo By T. Charles Erickson</div> <div class="slide-title"><p>“Actors itching to turn their personal lives into solo theatre need to come to “Liberty City” with a notepad.”<br />
<strong>Liberty City </strong>- <em>Mark Blankenship, Variety</em></p>
</div><div class="slide-credit">Photo By Joan Marcus</div> <div class="slide-title"><p>“The transformation is haunting… Ms. Thompson’s Medea is a real hell cat…I suspect that no matter how many versions I see in the future, my perception of them all will be affected by the revelations here.”<br />
<strong>Medea </strong>- <em>D.J.R. Bruckner, The New York Times </em></p>
</div><div class="slide-credit">Photo By Michael Messer</div> <div class="slide-title"><p>“A winning April Yvette Thompson…”<br />
<strong>The Exonerated </strong>-<em> Charles Isherwood, Variety</em></p>
</div><div class="slide-credit">Photo By  Bob Balaban</div> <div class="slide-title"><p>“In ‘Medallion,’ a young black woman, movingly played by April Yvette Thompson, begs a white general for the purple heart her brother won in battle so that she will have something to bury.”<br />
<strong>Antigone Project </strong>- <em>Phoebe Hoban, The New York Times</em></p>
</div><div class="slide-credit">Photo By T. Charles Erickson</div> <div class="slide-title"><p>“Ms. Thompson whose expressive eyes overshadow the rest of her face, is an able actor.  There is rigor to her characterizations.” <strong>Liberty City </strong>-<em> Jason Zinnoman, The New York Times</em></p>
</div><div class="slide-credit">Photo By Jill Jones</div> <div class="slide-title"><p>“April is chameleon-like.  She’s like Lily Tomlin or Whoopi Goldberg. She can do radically different people. But she’s also a brilliant actress. She doesn’t just mimic, she fulfills the complete character.”<br />
<strong>Liberty City </strong>- <em>Bob Balaban (Quoted in The New York Times)</em></p>
</div><div class="slide-credit">Photo By Joan Marcus</div> <div class="slide-title"><p>“April Yvette Thompson etches a particularly strong portrait.”<br />
<strong>Lights Raise the Roof </strong>- <em>Michael Feingold, The Village Voice<br />
</div><div class="slide-credit">Photo By Joan Marcus</div> <div class="slide-title1"><p>April Yvette Thompson’s Liberty City is nominated for a Lucille Lortel Award for Outstanding Off Broadway Solo Show.</p>
</div><div class="slide-credit-b">Photo By Joseph Moran</div> <div class="slide-title"><p>“April Yvette Thompson is touching in Loomer’s monologue as a mother in the U.S. talking to her left-behind child in El Salvador.” – <em>Frank Rizzo, Variety</em></p>
</div><div class="slide-credit">Photo By T. Charles Erickson</div> <div class="slide-title"><p>“The marvelously labile Thompson…”<br />
<em>-Sandra MacDonald, TheatreMania</em></p>
</div><div class="slide-credit">Photo By T. Charles Erickson</div>
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  • 7 Reasons Why Opening Weekend is the most important time to see Blue Caprice & Mother of George 1. As far as I know, we are the only professional actors of color to produce Sundance Festival Indies about people of color in major roles living through complicated human dilemmas. 2. Now the industry tells us this is risky business because they don't know the audience for this content. We'll I'm convinced that there is an audience wanting to see complicated stories on the screen with our folks in it. And the one chance we get to prove that to the industry is opening weekend. 3. Films, especially indie films (meaning we make our films, not a big fancy Hollywood Studio, just us) are in competition with $50 million dollar blockbusters that have also had another $100 million dollars of advertising behind them. 4. For us, we put the money into the storytelling and hope our audience will support the work by seeing it opening weekend. When we show big numbers opening weekend, it means a film stays in the theatre longer and sends a message to Hollywood about the kind of stories we want to see. It stays in the theatre long enough for the awards givers to see it, love it, and demand that it continue to run. 5. You cast your vote with every tix purchase. Beasts of the Southern Wild and Fruitvale did not get where they were by advertising, but rather by deep, thoughtful content, amazing storytelling that sang to peoples' hearts and made them think deeper and love life a little harder. That's our job as artists. 6. Our audience's job is to keep the flame alive: pure word of mouth and vigilant supporters banging down the doors opening weekend to send Hollywood a message. 7. If you don't like the stories currently being told about us, empower yourself to change that. Complaining = No power. But every time you buy an opening weekend tix to a film or a play, you use your power to create change to make your desires clear. To raise the value of our stories.
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