Jeremy Gable






AMERICAN THEATRE MAGAZINE - "Twitter Plays Aren't Revived, They're Retweeted"


HOWLROUND - "Twitter Plays: When Theatre Connects With Reality"


HOWLROUND - "Re-Tweeting Jeremy Gable's The 15th Line"


THEATER MAGAZINE - "140 Characters in Search of a Theater: Twitter Plays"


PHILADELPHIA WEEKLY - "The 15th Line: A Play For Twitter"


NBC PHILADELPHIA - "Philly Playwright Sets Stage For Twitter"


ORANGE COUNTY REGISTER - "All the world's a twittery stage"


OC WEEKLY - "The Summer Jeremy Gable Took Over OC Theater"






"Strange Tenants is the type of serious, daring theater that makes us lift our hands and give thanks for the Fringe ... There were strong echoes of Hitchcock, Marsha Norman and Harold Pinter at his darkest hour ... Keep an eye out for anything by Sam Tower + Ensemble hitting the stage in Philly down the line."

Max Marin, Philadelphia Weekly, Sep. 27, 2017


"Arresting in its weirdness and impressive in its quivers, jerks and writing ... As for the psycho thriller part, the show is satisfyingly strange and in its way, gripping."

Howard Shapiro, Newsworks, Sep. 12, 2017


"It's hypnotic and troubling and funny ... There's plenty to admire about the direction in which this woman-centered arm of Philly's devised-theater scene is headed."

Wendy Rosenfield, Broad Street Review, Sep. 9, 2017


"Strange Tenants will put a knot in your stomach and a chill up your spine. It is a feminist Hitchcock thriller with singing and dancing. And it is exquisite."

Rebecca Rendell, Talkin' Broadway, Sep. 13, 2017




"Hero School is carefully crafted for fun and gentle learning, with a positive moral that's organic to the story and not contrived or overstated. Hero School includes everyone and doesn't condescend, and that's a great lesson."

Mark Cofta, Broad Street Review, Aug. 7, 2017


"I was hooked ... I took a Particular Risk, and I'm glad I did."

Mark Cofta, Broad Street Review, Apr. 11, 2017




"Jeremy Gable's lean script captures the noir style well ... 901 Nowhere Street clearly introduces not just a stylish new play, but an adventurous new company."

Mark Cofta, CityPaper, Sep. 9, 2015


"The performance requires that the audience enter into a complicated story they don't understand for quite awhile, and trust that gradually they'll get it. And they will ... This new theatre company has made one heck of an entrance."

Kathryn Osenlund, CurtainUp, Sep. 17, 2015



"A world premiere production that respects the many moods of childhood ... The world premiere play by Jeremy Gable is every bit as buoyant as it is skittish, and excitable as it is terrified, without ever being even the slightest bit scary to young children. Everything that is beautiful and maddening about childhood (in the present day and in retrospect) is on display in Dream House and that makes it a truly magical piece of theater for kids and former kids alike."

Jeff Bogle, Out With the Kids, Nov. 11, 2014




"While single-tweet plays never allow readers to suspend disbelief, The 15th Line attempts to create a parallel dramatic universe that one follows just as one might follow other friends on Twitter. In the process, it illuminates the increasingly porous border between everyday life and performance in a mediated age ... Raises fundamental questions about the increasingly mediated performance of everyday life."

John H. Muse, Theater Magazine, Volume 42, No. 2


"Gable’s play builds tension with each update and sucks the reader into a world of ever-increasing urgency ... It’s a living and breathing work of art capable of turning any corner at a moments notice ... The 15th Line continually creates those rare moments of intense urgency."

Joshua Sessoms, NBC Philadelphia, Jan. 29, 2010



"Somehow, in 140 characters it manages to capture small town malaise, the pains of adolescence and the fear of aging."

Relevant Magazine, September/October 2009


"Leave it to Jeremy Gable, one of Orange County's more fertile theatrical minds, to come up with the world's first Twitter play (or at least the first one I've heard of)."

Paul Hodgins, The Orange County Register, Jun. 14, 2009




"Chaotically assembled—but always interesting ... It's a heady, novel and often bewildering leap that examines nothing less profound than the nature of tragedy ... A moving, richly poetic story ... It's fresh, rarely predictable ... One of Orange County's most genuinely innovative theatrical minds."

Joel Beers, OC Weekly, Jun. 28, 2007




"A silly, goofball-funny show that both tips its hat to and derides the campy genre of monster movies that began to emanate from Japan in the 1950s ... Gable has a way with a turn of phrase ... Gable's songs are cheerfully loopy, with the lighter, more sexually suggestive material of the karaoke supplanted by the macabre, black comedy of the second act's numbers. Melody-wise, his songs parody various genres, but it's his lyrics that astutely zero in on their targets ... Gable's inventive, kitschy, tongue-in-cheek score."

Eric Marchese, Orange County Register, Aug. 4, 2006


"Wickedly funny stuff ... the last moments of bravado and fear resonate."

Lynne Heffley, Los Angeles Times, Oct. 8, 2004


"Jeremy Gable's loopy new play is driven by an ingenious metaphoric concept ... Gable's dark comedy/fantasy skewers U.S. political issues with up-to-the-minute relevance while taking a frighteningly resonant look at the volatile state of international relations ... Gable scores a bull's-eye on many satiric targets, including celebrity worship and the shallowness of pop culture ... Gable's distinctive voice offers great promise. At its best, his lacerating piece evokes a tragicomic Kubrick-esque brilliance."

Les Spindle, BackStage West, Oct. 8, 2004
"A superhero parody with a lot more brewing beneath the surface, Jeremy Gables new play uses an organization of crime fighters, like the Justice League of America, as a metaphor for the U.S. ... His message is strong but pleasantly balanced with wry jokes about superhero clichés that testify to the authors expansive knowledge of the genre."

Luis Reyes, L.A. Weekly, Oct. 15, 2004 


"What the fuck?"

Rebecca Schoenkopf, OC Weekly, Sep. 28, 2006