Bottle Fly

Click here to read the feature in the New York Times


Click here to read about Babel winning the Smith Prize

Click here to read about the current development of Babel

The Arsonists


Click here to hear the radio interview on INSIGHT with Beth Ruyak on NPR (Sacramento)

Click here to read the feature in Phindie.

Click here to read the feature from NPR (WHYY).

Click here to read the feature in City Beat

Click here to hear the interview on Alaska Public Media (radio broadcast)


"Spellbinding...Hypnotic...Exquisitely written...The opening scene...would be equally at home in a Cormac McCarthy novel or a hardboiled HBO series. And I mean that as a serious explores the fine lines separating parent and child, life and death, earthliness and eternity, letting go and moving on, profanity and poetry, the grotesque and the sublime." -Juneau Empire

“A hypnotic, surprising journeyradiant, lyrical language…an amazing concentration of potent imagery, in a way that keeps your brain humming. In addition to the compelling father-daughter theme, there’s a ghost story, ending with a glimmer of redemption. But The Arsonists is not at all like Jacob Marley addressing Scrooge from beyond the grave. This is a haunting of a very different sort.” –Capital Public Radio (Sacramento)

"From the opening moments of The Arsonists, playwright Jacqueline Goldfinger pulls the audience into the deep, dark recesses of the Northern Florida swamps and its murky, quirky inhabitants...a strange and beautiful weaving-together of Southern Gothic tales and the Greek mythology Electra" -Sacramento News

A searing family drama...A remarkable work with roots that stretch back to Greek drama but is as contemporary as today...The more I think about this play, the more I appreciate it and want to see it again. That is not always the case, believe me. I’m glad somebody wrote this—specifically Jacqueline Goldfinger—and that Capital Stage encourages and performs such new works.” -Sacramento Press

“This is not a ‘wordy’ play, but each bit of dialogue is pure gold...The finale, in particular, is spectacular." -Davis Enterprise

"Arsonists sparks provocative ideas about life, death and family legacies...playwright Jacqueline Goldfinger’s script comes across as both challenging and engrossing...a play that dares to take on the grandest of themes — life, death and the legacy our actions and love bestow upon our children." -Sacramento Bee

"Jacqueline Goldfinger’s spellbinding new play...The Arsonists, put me in mind of a kind of gender-reversed Sam Shepard—especially Shepard’s early collaborative work with Patti Smith...As in Shepard, there is a sense that love, loss, and betrayal are inseparable...What makes The Arsonists so extraordinary is in part its contradictory oddness. It’s realistic and gritty, but also beautifully poetic; epic in scale, but it runs only 70 minutes. There’s very little plot, but every line tells a story. By the time we reach the finale, the tone has shifted considerably. There is a sense here that the playwright honors a history of theater (the Greeks, Shepard, also Eugene O’Neill’s Mourning Becomes Electra), but it’s also contemporary. Best of all, Goldfinger’s voice is distinctly, wonderfully her own." -Philadelphia Magazine

"The Arsonists packs a strong punch...the play is edgy and thought-provoking...This is not a play for the faint of heart." -Broadway World

"Haunting, and atmospheric, Jacqueline Goldfinger’s compelling new play, The Arsonists, is premiering at Azuka Theatre....The play exists on two planes, the real and the psychological, and Goldfinger leaves it to us to figure out whether we’re watching some fascinating aftermath of a crime or the torment in a woman’s mind. But that’s the dramatic pleasure of subtext: You get both." -The Philadelphia Inquirer

"Haunting and primal...the play with music is at once earthy and otherworldly, acutely poignant, at times comic and often hair-raising, as the desperate characters struggle with letting go and moving on...Goldfinger employs language that strikes a balance between the profane and the poetic...The Arsonists is an impactful spine-chilling meditation on the age-old themes of life and death, the power that nature holds over humanity, and the ties that bind father to daughter. That’s a lot to think about in just over an hour, and to continue to ponder long after you leave the theater." -DC Metro Arts

"Heartbreaking and atmospheric...The Arsonists shoulders enormous emotional weight. That’s a testament to Goldfinger’s carefully balanced array of music and metaphor, as well as the raw emotional expression of the actors...The Arsonists burns as fiercely as the name suggests, making it well worth attending. Fair warning, though: if, like me, you’re the father of a daughter, you will need to hug her after this play, even if that means waking her up a bit too far past her bedtime." -ArtWave

"The Arsonists: A Love Poem...A Must See...It captures the largeness of life, of feeling, and how even after death you continue to sing the story of your ancestors, sometimes turning the daily pains into joy." -League of Cincinnati Theatres



Named one of the "Top 10 Productions of 2012" by Philadelphia Weekly

Click here to read the Philadelphia Inquirer Feature

Click here to read the script and critical commentary as well as see images from the world premiere production in Blackbird Literary Magazine


Slip/Shot is decidedly Southern Gothic with an ethereal lyricism that evokes Faulkner, McCullers, Williams." -American Theatre Magazine.

"Flashpoint excels with Slip/Shot. This beautifully crafted and intensely moving drama…is served by a powerful cast and an imaginative and skilled director.” -Philadelphia Inquirer

“Searing drama…movingly premiered…Celebrate the power of hope.” -Philadelphia City Paper

A remarkable new play…go to Slip/Shot and be dazzled by Goldfinger’s perceptive dialogue, by characters who are intelligently and distinctly drawn, and by finely detailed observations that make the sparsely lit and designed play seem uncommonly vivid.” -Talkin’ Broadway

“Goldfinger has a unique poetic voice. She isn’t writing just to entertain an audience (though she manages to do so); she is writing to pose questions that have no quick, simple answers. In Slip/Shot , Goldfinger asks us to consider the basis of our suspicions and the impact America’s legacy of racism has on both our individual and national identity.” -Philadelphia Weekly

“Jacqueline Goldfinger’s writing in Slip/Shot is assured and unhurried, offering heft, a feel for the South, and a good story. As her sheriff (Keith Conallen) says, ‘Nothin’ folks like better than a juicy story.’” -CurtainUp Online

Painful and potent drama…we have a historic homily about family, trauma, the reality of things falling apart, and the way we grow and heal once the dust has settled and the sun rises once again. The 1960′s may be an extremely popular era these days, but the reality of this play cuts through the nostalgia of flipped hair and circle skirts, and focuses on the humans at the heart of the drama…It’s filled with darkness and the shadows of hate, but it’s also beautifully nuanced and celebrates the power that love gives us to let go, and move on…Those looking for easy answers on “how to solve the problem or racism” or “whose fault is whose” wont find anything of the sort in Goldfinger’s work. Instead, she gives her audience an examination of tragedy as it exists in life, using a painful accident and it’s ramifications to look at humanity, family and the way our experiences inform our entire lives. All of the characters in this world are valid complete human beings, regardless of how they ultimately decide to deal with Monroe’s death, and as the play ends, we are left with a sense of lingering sorrow and that all-pervasive villain hope. False or true, it’s what keeps us going, moving forward, into the future. And we have to believe that that’s better than living in the past. Have you seen the past lately? It’s a mess.” -Staged Magazine

The Terrible Girls


A grand, grotesque little play…An entertaining new theater piece by Jacqueline Goldfinger, a top-notch premiere.” -Philadelphia Inquirer

Captivating play by Jacqueline Goldfinger…This is an immensely entertaining and thought provoking play that will leave audiences with a great sense of satisfaction resulting from excellent performances in a superbly well-staged production. This is a play that will be appreciated on a great many levels. It is a dark comedy for sure, but, it will also reach deep within the hearts of its audience as it delves into the complex inner lives of these three wonderfully constructed characters. ” -Stage Magazine

3 Women comes to mind…Sharp comic timing brings a vital levity to the cutting plot twists and nightmarish revelations. It’s an interesting examination of need for authority, whether real or imagined, that keeps us in the most precarious situations. Emotional needs beat logic to the truth in this pressure-cooker drama.” -Philadelphia CityPaper

Smoky, provocative and refreshing…As the best theater does, it forces us to reflect and leaves us in awe of what we witnessed on stage. Plus… there’s fake blood and a great soundtrack and lots of laughs.”

All the smokiness of a Southern Gothic drama.” -Backstage

Suspenseful and provocative…a refreshing new story admirably written…What makes this play different than a mundane portrait of the modern South is its mythic quality. the terrible girls forces us to reflect on the duality of human nature and witness how deceit, desire, and obsession can lead to transgression.”

The Oath


Magnificent” & “Soulful” -Theatre Buzz (NYC)

“Outstanding drama…Wonderful, thought-provoking…Goldfinger marvelously unfolds the story with great dialogue and sympathetic characters.” -New Theater Corps, Theater Talk (NYC)

An intriguing journey through the swampy American South…The Oath sends its audience upon a mind-enriching exploration in which we leave with more questions than answers—questions that will haunt even the most resistant audience member’s mind.” -Show Business Weekly

“It’s perhaps due to [Goldfinger’s] deliberate subtlety that The Oath’s symbolism is so affecting. The story is laden with religious parallels, questions of female identity and themes of secrecy and familial duty, but the presence of a nationwide crisis that hovers over its cast of characters is what allows us to relate to them right off the bat—even before Goldfinger dismantles, in a startlingly effective manner, the initial archetypes that these characters represent.” -OffOffOnline (NYC)