"Brilliant, beautiful writing, smart, inventive directing and every performance spot-on. Shows what you can do when you spend serious time on the work."

[T]he mood set by 1940s music, this play by the inventive Stolen Chair company mines every verbal and physical cliché in the book. And the ensemble do a superb job in bringing to life the characters, one of which is soon to be dead.

"...intriguing...clever...we become fascinated by this whodunnit...under Stancato's shrewd direction, the actors ably perform in noir and absurdist styles, showing much promise in a play that...amuses even as it challenges perceptions..."

If Eugène Ionesco and Martin McDonagh watched The Maltese Falcon, they may very well have come up with something akin to Stolen Chair’s Kill Me Like You Mean It; but it wouldn’t be nearly as good as th[is] comedic masterwork.

A rare theatrical gem...a masterfully crafted bit of comedy

Sendups are always tricky -- but the film noir parody Kill Me Like You Mean It riffs on the genre with existential glee...A terrific cast, period-perfect lighting and costumes ensures Kill Me is an entertaining romp.

A killer script...in the hands of playwright Kiran Rikhye, truly any outcome seems possible. The characters reflect a smattering of Old Hollywood types run through a veritable Markov chain generator, but thanks to her gift for repetition and Lewis Carroll-ian word games, the results feel wholly original. The staging by director Jon Stancanto matches the flow with the wordplay...the effect is dizzying and profoundly entertaining.

You may die from laughter and enjoyment, and I mean it.

"...[A]stonishing authenticity...a stroke of genius...Playwright Kiran Rikhye, director Jon Stancato, and their collaborators dazzle with their range and versatility...sharp, smart parody...brilliantly plotted and generally hilarious."

Stolen Chair, which specializes in creating unique theatrical experiences, does it again with [Kill Me], An existential exploration of the very nature of storytelling, keeping its existential tongue in its existential cheek as it mines through the familiar clichés of the rich American genre while also searching for the meaning of existence.

"...[A] clever, high-styling treat. ...[A] fast-paced rollercoaster ride filled with just the right fantastical ingredients to make this absurd play hilarious...The Stolen Chair Theatre is earning a well deserved following."

A phenomenal score by Sean Cronin instantly transports you into the era and the fantasy world...Kill Me Like You Mean It is a fascinating glimpse into the sort of murder mystery Albert Camus might write.