"...It isn't that the play portrays him as such a prince; on the contrary, the egotism, anxiety, and patronizing paternalism he displays make him out to be a real piece of work. But playwright Elizabeth Doss, whose bloodline lets her claim Melville as her great-great-great-grandfather, presents the pressures on him – financial, familial, professional – in ways that feel very familiar, and she establishes enough artistic integrity in his character that the creative risks he takes have a kind of honor in them...."
"...One needn't be familiar with the details of García Lorca's life – or death – to know that The Audience, Elizabeth Doss' new adaptation of El Público for the Austin theatre company Paper Chairs, won't end well for the nameless theatre director confined on the tiny, cell-like block upstage. The glower of Zac Crofford's imposing guard shoots menace through the space, and Megan Tabaque's Voice of Authority (or should that be Authoritarianism?) hectors Vincent Tomasino's anguished director relentlessly through a bullhorn as she moves around the audience – "Your life is a crime against the state," she sneers – finally badgering him to tell the story of his death..."
"...In Elizabeth Doss' new script about Catalina for Paper Chairs, the details are jumbled and fuzzy. Catalina (Alexis Scott) identifies herself as an unreliable narrator..."
"...The middle is also filled with lost sailors, even if their seafaring is not so literal. Elizabeth Doss' new play Mast from Paper Chairs is a story about lost souls not sure when to give up and go home...."
"...Heather Barfield & Elizabeth Doss To look at Heather Barfield and Elizabeth Doss, you might think they're too young to have much theatrical experience under their belts. But that just goes to show how appearances can deceive you..."
"...Writer-director Elizabeth Doss, curator of Living Lit events for Fusebox, explains: "Often, when we're presenting literature, it's either in a reading format or a lecture. The experience can be more interesting if it's interactive with the environment." To that end, the free road show will ferry audiences around Austin on a yellow school bus, creating unique literary experiences at four locales that may be hidden in plain sight...."
"...Actor, playwright, and Paper Chairs company member Elizabeth Doss, who was 17 when she performed in "The Oracle Game," has discovered that, too: "Over many years seeing and performing Hank's work, I've learned that he never repeats himself; each play he creates is wholly unique in form, function, and content. He writes like a scientist experiments, and the outcome is usually unexpected..."
"...As a displaced family, as refugees on a trail to they aren't sure where, as youth seeking their place in the world after a parent's death, these figures are most familiar. But playwright Elizabeth Doss gives them all fresh, quirky voices, as she did the characters in her debut drama, Murder Ballad Murder Mystery..."
"...Usually, when a play reaches the end of its run, it's dead, departed, gone with the wind. Once in a while, though, a show gets pulled back from oblivion, and such is the case with Murder Ballad Murder Mystery, the backwoods musical by Elizabeth Doss (book) and Mark Stewart (score) that scored critical raves and multiple awards when it premiered in 2009..."
"..."Hey," I protest, "some of the things were kinda cool, weren't they? Besides Ratgirl, I mean. Like that twisted family thing with Elizabeth Doss and Clay Towery, that was pretty clever."..."
"...Elizabeth Doss (who gives us a no-nonsense, fit-for-the-fight Joan), Judd Farris (as our forlorn and lovelorn playwright and protagonist), and Jess O'Rear (whose Stephen is an adorable academic with an equal love for history and cat metaphors) compose a formidable acting ensemble, taking us through Shaw's story in a way that feels incredibly genuine and vulnerable. Co-direction by Shaw, Doss, and Lisa Laratta ensures a cohesive production that carries us not toward resolution, but instead leaves questions hanging over the audience's head about their own lives, loves, and battles...."
"...I have a feeling that some might react to this Vortex Repertory-Tutto Theatre Company co-production of Elizabeth Doss' original musical with similar confusion and, perhaps, even derision. But I can't recall seeing many Austin theatre productions in the last 20 or so years so seamlessly perfect as this one..."
"...We can here, and so it gnaws at us to see Elizabeth Doss' young woman stumble into the office wide-eyed with anxiety, tense with confusion and frustration, desperate for a freedom she cannot find; to see her back into a hollow marriage with her boss (Bill Durham, asserting his authority with smooth insistence and facile conviviality), then to find companionship with another man (the ever-reliable Matthew Patterson, giving a broad smile and an easy grace to this different drummer), only to lose it in a vision of violence that brings her no closer to the freedom she hungers for, only further into confinement. Doss adds to our unease with her committed portrait of a lost soul, her face ever open, searching, vulnerable, haunted by an unattainable dream of liberty..."
"...8) CATALINA DE ERAUSO (Paper Chairs) Oh, Dustin Wills, how we've missed your bracingly inventive direction, and how well it served Elizabeth Doss' exploration of history through the dramatized life of a 17th century nun turned conquistador. Also among the year's best ensemble and design work...."
"...Francine (Elizabeth Doss) is a speechwriter living in Nebraska. She's only in Nebraska because she's married to Jeffrey (André Martin), a not-so-skilled doctor..."
"...There is no ego, only an invitation to a shared experience between audience and actor. To call it an "all-star" cast would be an understatement, with Austin heavy-hitters Barbara Chisholm, Elizabeth Doss, Ellie McBride, Robert S..."
"...Here, her background in and mastery of painting, graphic design, and art history spring vividly to life in the 3-D world of Russian depressive Semyon Semyonovich Podsekalnikov. In addition, Laratta and Elizabeth Doss make a swell co-directing duo, and many of their blocking decisions are inventive – key in helping audiences engage with the dated and otherwise culturally alienating material of this 85-year-old satire of early Soviet culture...."
"...The nonlinear structure especially doesn't help. Robert Pierson as the stuttering title character handles a load of jabbering dialogue for most of the evening, is helped quite ably on occasion by the show's other actors: Adriene Mishler, Elizabeth Doss, Aron Taylor, and Ellie McBride..."
"...They're a second take on Adam and Eve, not out to repopulate the planet (a reference to Mike's vasectomy ensures that's not in the cards) but to regenerate the culture. Elizabeth Doss' ebullient Kris and Jason Newman's lively Mike – about as winning a duo as you could hope to be locked in a bomb shelter with – romp and stomp across the stage in their pajamas, sketching in broad vaudevillian strokes the characters and scenes from Shelley's great work, and their actions speak to that very human impulse to create..."
"...Between Mark Stewart's beautifully crafted songs, Elizabeth Doss' appropriate direction, Chase Staggs and Craig Matthew Staggs' delightful production design, and Hilah Johnson's hilarious costumes (all of Buttons' and Bows' clothing is constructed from the same American-flag-print material), this show comes together into 80 cohesive minutes of entertainment. The Buttons and Bows Show is very user-friendly..."