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“Strikingly beautiful. …excellent sound design… Ms. Milo’s Nannerl is charming and funny… Ms. Milo has a balletic grace, and it’s easy to imagine her slender hands at the keys of a clavichord.”

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“With an emotional precision that captures and rewards attention throughout, Sylvia Milo rescues Nannerl’s genius from the historical shadow of her brother’s … dazzling, original performance … superb sound design…hauntingly beautiful compositions… the dress is worthy of a gallery installation all its own.”

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“One of the most remarkable theatrical presentations… Sylvia Milo has brought off a tour de force in creating such an absorbing, intelligent, and sure-footed entertainment on such a subject. …an exalted plane of expression and elegance we associate with the great actresses of the pre- and post-war period… eloquent lighting… sophisticated and well-judged score… sureness of the direction… most brilliant and absorbing.”

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“Sylvia Milo’s luscious depiction . . . eschews the dreaded bio-adaptation problem . . . with class and evocative energy. . . . graceful sophistication. . . . a surprisingly deep and penetrating analysis of the life of Wolfgang’s older sister. …She sometimes resembles the dancing girl in the center of a music box, an impression that’s underscored by Nathan Davis and Phyllis Chen’s tinkling score. ”

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“Milo’s performance was spry and witty, turning what could have been simply a revisionist complaint into a penetrating portrait of the Mozart who might have been.”

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“One-Woman Show Focuses On Mozart’s Little-Known, Older Sister”

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“Overshadowed by her brother, Nannerl Mozart was a talent in her own right.”

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Forged Project Inc.

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“This is feminist theatre with girlish allure.”

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“Tennessee Williams: “played with consummate southern belle guilelessness and charm by Sylvia Milo.”

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“Nannerl Mozart was a child prodigy like her brother Wolfgang Amadeus, but her musical career came to an end when she was 18. A one-woman play puts her back on the stage, where she belongs.”

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“fascinating… dreamlike… an arresting depiction”

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“Milo has crafted a version of Nannerl’s experiences with heartbreaking compassion for the artist she might have been.”

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“Miss Milo is quite mesmerizing… She is also quite the vixen with a sharp sense of humor… Sylvia Milo is breathtakingly beguiling as Maria Anna.”

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“Beautiful? The word isn’t adequate. Unique? A cliché. Powerful? Immensely. Emotional? Deeply. Funny and fun. Sad and desperate. . . . So much brilliance in one night. . . . only one thing left to say. BRAVO!”

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“Sylvia Milo has created a beautiful play… This is theater at its very best and not to be missed… Samantha Hoefer as Nannerl delivers a tour de force performance, utterly captivating from beginning to end… The show works on every level, all the elements — light, sound, costume — coming together to aid Hoefer in her forceful performance… original compositions by Nathan Davis and Davis’s brilliant sound design emotionally underscoring Hoefer at virtually every point… The gorgeous scenic design — which it turns out is actually costume design (brilliantly designed by Magdalena Dabrowska and Miodrag Guberinic)… the exquisite lighting design of Joshua Rose…. a brilliant, unified piece of theatrical art.”

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“Rather than subsume or subordinate her subject as a domestic relation of Amadeus Mozart, Milo’s theatre piece emancipates Nannerl. She gives the subject of her play the autonomy she never had during her life, and allows her first and foremost to be a musician.”

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“The Gilded Cage: Origami, tulle and metaphor create a dress that is costume, cage and set piece in The Other Mozart”

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“Jolting sound effects by Sylvia Milo, the audio elements are stunning, to say the least… They create a stark atmosphere pulsing with blinding flashes and haunting shrieks.”

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“This is a gem of a show… beautifully designed… [Milo’s] face gleams with passion for the story of Nannerl, whom she becomes – clever, witty, frustrated, sometimes hysterical.”

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“…fascinating and irresistibly intelligent… Frenetic tremolo of a harpsichord becomes the fluttering of a fan… It is beautiful.”

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“The Other Mozart is the most dynamic, theatrical, and moving one woman show I have ever seen. …breathtaking 18-foot dress…extraordinarily vivid and emotive soundscape… This show is the height of theatrical achievement. …you simply must see this production.”

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“Beautifully written… As Nannerl, Milo is immensely graceful, thoughtful, focused… The actress makes her character’s experience immediate and visceral… Characterization of Nannerl is immensely appealing. Pace couldn’t be better; we witness thinking… I can’t sufficiently praise the concept and manifestation of the dress… Original Music by Nathan Davis and Phyllis Chen is rich and evocative. Sounds create metallic abrasion, out of sync clockwork, an automaton, a music box.”

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“The Other Mozart is a poignant reminder that, for many centuries, and even millennia, one precondition to the status of genius was being male—and we have lost uncounted works of genius by that arbitrary fact.”

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“The massive amount of research Milo has done for this project is astounding. The facts of this woman’s life are truly fascinating. (…) fiercely talented director, Isaac Byrne (…) one of the most stunning stage pictures I’ve seen in years.”

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“Through Milo’s layered and beautiful performance, brilliant lighting and atmospheric sound design, Nannerl’s tale is told with heartbreaking beauty.”

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“THE OTHER MOZART Set for All for One Festival at Cherry Lane Studio Theatre”

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“Sylwia Milo: w Ameryce przekonałam się, czym jest dla mnie szczęście”

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