PRESS

The Arsonists

"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

"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

Skin & Bone

Named "Best of Philadelphia Theater 2014" by the Philadelphia Weekly

"[Goldfinger] has displayed a knack for blackly comic eccentricity, decay, and alienation the wretched likes of which haven't been seen since William Faulkner. In the dark genre, her plays' flippant humor, the genuine laugh lines, are a treat." -Philadelphia Inquirer

“Jacqueline Goldfinger returned to her southern Gothic roots with this wonderfully depraved affair. A unique blend of the most terrible and tender sides of human behavior, Skin and Bone was a collision between Arsenic and Old Lace and The Dukes of Hazzard. Under Allison Heishman’s direction, Maureen Torsney-Weir and the hugely underrated Drucie McDaniel portrayed two sisters with more grit and vigor than many male characters could muster.” -Philadelphia Weekly

“How much one considers Jacqueline Goldfinger’s provocative new playSkin & Bone a comedy depends on where each person draws the line between funny and sick. It’s a balancing act that countless horror movies can’t achieve, but one that the Florida native, as Azuka Theatre’s skillfully produced premiere shows, handles with skill and verve. I found the play humorous, but with a darker vibe that is deliciously complex and eerie; it’s the kind of comedy that elicits uncomfortable titters and gasps, not belly laughs….What’s really special, though, is seeing a great new play by an up-and-coming local playwright featuring women characters of an age too seldom portrayed, played by fine actresses too seldom seen.” -Philadelphia CityPaper

“Playwright Jacqueline Goldfinger goes beyond the loose academic associations of Southern Gothic literature and creates a play that pays close attention to the tradition and its many quirks. Goldfinger produces the genuine article where a lesser playwright might have lapsed into imitation or even parody;Skin and Bone is a slice of heightened reality where both the weirdness and the emotional resonance of the SoGoth classics are expanded to fit the stage.” -Phindie

Slip/Shot

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 American Theatre Magazine 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…and it benefits from director Rebecca Wright’s intense production…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. The performances are all excellent.” -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

“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

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

The Terrible Girls

“A grand, grotesque little play…Azuka Theatre is giving the terrible girls, 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.” -Uwishunu.com

“Three Stars.” -Time Out, New York

“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.” -NYTheatre.com