[BEST BET] "Nylon is a rare treat. This is intimate black (or in this case white) box theatre at its best. It’s a joy to watch this excellent five-person ensemble up close and personal… Director Knud Adams wisely makes the experience an uber-intimate one by cutting the TheaterLab space in half, thereby creating an extremely shallow playing space. The piece feels less like a play and more like an examination of five characters under a microscope.”
Ken Kaissar, Theater is Easy

[★★★★] "Like flies on the wall to both aggressive and tender moments, what director Knud Adams achieves is mirroring in the audience a similar feeling of suffocation and inescapable angst that our protagonist Anna is grappling with on stage.”
Nicole Cardoni, Plays to See

"Marie and Bruce is a grueling experience for artists and audiences alike. But if you were going to revive it, Adams, Hammel, and Landenberger are the artistic team you’d want."
Miriam Felton-Dansky, Village Voice – MARIE AND BRUCE

"An excellent production... Directed by Knud Adams, the production moves confidently through its paces and makes clever use of the various nooks and crannies of the theater itself."
Dan O'Neil, Culturebot – MARIE AND BRUCE

"Mr. Adams has demonstrated his touch with off-kilter comedy in such plays as 'Tin Cat Shoes' and 'The Workshop.'"
Elisabeth Vincentelli, New York Times – MARIE AND BRUCE

"Entertainment that feels custom-made for a “school’s out” state of mind... With a lesser cast and design team the ingredients of Tin Cat Shoes might not seem quite as fresh or tasty. But it’s hard to resist the eccentric top spin that these performers so happily put on their lines."
Ben Brantley, New York Times – TIN CAT SHOES

[RECOMMENDED, ★★★★] "The cast, direction, and design are top-notch... Tin Cat Shoes is a delight in three acts."
Helen Shaw, Time Out New York – TIN CAT SHOES

"The kind of candid introspection many of us should be undertaking — though probably funnier and sweeter than most of ours would be... Behind Bent is a gorgeous set, designed by Adams."
Miriam Felton-Dansky, Village Voice – ALOHA, ALOHA, OR WHEN I WAS QUEEN

"A smart, funny exploration of cultural appropriation in the tradition of the great solo performers... It’s rare in this genre to think about design, but Aloha, Aloha’s production is visually delightful in its simplicity."

"The play is a monologue, which Mr. Adams has smartly double cast with actors who speak different passages of the text — an approach that heightens the production’s already pitched surreality but also the implication that this reckless, narcissistic disaster of a human being is in some ways us... Is it brutal, discomfiting and truly gross? Absolutely. But in a production this spot on, that’s not a bad thing at all."
Laura Collins-Hughes, New York Times – ASSHOLE

"Thanks to Knud Adams' nimble direction, Asshole may leave you without an appetite for the rest of the evening, but is a sure-fire, thought-provoking piece."
Theatre Is Easy – ASSHOLE

[Critic's Pick] "An incisive and insightful tale of ambition and envy, inspiration and mediocrity... Knud Adams craftily uses the tight confines to create and sustain tension, and the actors portraying the students are all excellent."
Elizabeth Vincentelli, New York Times – THE WORKSHOP

[RECOMMENDED, ★★★★] "Well-performed [and] bracingly cynical... Knud Adams’s intimate production tucks us close enough that we can smell the spilled coffee."
Helen Shaw, Time Out New York – THE WORKSHOP

"One hell of an evening of theater. Directed with a deft and unaffected hand by Knud Adams and featuring a shattering central performance by Austin Pendleton."
Sara Holdren, Vulture – THE WORKSHOP

[VOICE CHOICE] "The intimate, tight-focus staging by director Knud Adams in the lobby of the HB Playwrights Theater is perfectly scaled: 41 audience members on bleachers mere feet away from squirming students and bloviating prof... The young ensemble is appealing and precise in their character typing, and Pendleton does Pendleton — the elvish, shambolic shaman — surpassingly well."
David Cote, Village Voice – THE WORKSHOP

"In true pulp fashion, Jarcho and director Knud Adams are in thrall to their cinematic inspirations, and there are enough training montages (à la Nikita) set to pulsing German pop (à la Run Lola Run) to content the fiercest heart."
Helen Shaw, Time Out New York – EVERY ANGEL IS BRUTAL

"Directed with apparent glee by Knud Adams... Played with taut energy by the excellent ensemble."
New York Theatre Review – EVERY ANGEL IS BRUTAL

"Director Knud Adams keeps the elements of past and present, multiple settings, and many characters in balance for this production successfully. The transitions are seamless and flowing."
In the Spotlight – MY JANE

"Knud Adams has given the play ease and flow... a splendid foray into the craft of theater combined with the depth of the classics."
Berkshire Bright Focus – MY JANE

"The two paths converge in a theatrical prism – a keenly observed, hugely entertaining adventure in the Book World."
Valley Advocate – MY JANE

"Adams' choreography of physical shifts for his actors was in tune to the poetry of his playwright’s text. Adams capitalized on the power of body language. It told the story stronger than you could imagine."
Theater in the Now – TOM & ELIZA

"Delicately directed by Knud Adams, all of Song’s bleak humor and rapid dialogue converges into an engrossing and intimate experience."
Theatre is Easy – TOM & ELIZA

"Directed and designed with a tight focus by Knud Adams, Adams leaves no room for the audience to check out of the story."
New York Theatre Review – TOM & ELIZA

"Director Knud Adams stages the hospital scenes with carefully observed realism... Martin’s “Typhoid Mary” memories grow increasingly surreal as his symptoms turn worse. Knud stages these moments with heightened theatricality, culminating in the climatic final tableau."

"As surprisingly tender as it is eerie."

"The real triumph of An Intimate Evening with Typhoid Mary was the production design. Director Knud Adams organized a strong team to lift the script onto the stage."

"As directed by Knud Adams, a director with enormous talent, this double-bill performance is seemingly staged effortlessly, fluidly moving from solo, trios and duets on the theme of love, then suddenly transforming into the late night game show without missing a beat. The performances are top notch across the board."
New York Theatre Review – LOVEPLAY/PLAYMONEY

“A lovely production. Thanks to Knud Adams' well-conceived and executed staging and a winning ensemble, the play is tremendously affecting and also extremely funny.”

★★★★★ "An engrossing and polished revival... Adams demonstrates an acute empathy with Baker's work with this sweet and loving production." – BODY AWARENESS

"It is the perfect intimate venue for this fine production, directed by Knud Adams. He has assembled a heart-breakingly perfect cast who bring these quirky characters warmly to life on Travis A. George’s beautiful all white set, neatly framed, and reframed, in blonde wood. You can smell Joyce’s 'winter soup' simmering on the stove."
Berkshire On Stage – BODY AWARENESS

"Through the astute direction of Knud Adams, the idiosyncrasies’ of each of the characters are unveiled, mostly with kindness and understanding, and always with humor."
In the Spotlight – BODY AWARENESS

"Knud Adams’ production is nicely balanced, allowing the playwright’s multiple ambiguities to just be. I particularly admired his willingness to draw out the pauses in conversations until just past the point of discomfort—which is where the characters in this play live."
Valley Advocate – BODY AWARENESS

"Knud Adams has given a rhythm to the internal rhyme scheme of Baker’s plot. She has provided the Christmas tree-like bones of the play with some nice conversational decorations, but Adams has woven in the lights and colors with his clever juxtapositions of people and props."
Berkshire Bright Focus – BODY AWARENESS

"Adams and his team do a brilliant job of creating a textured and detailed setting that utterly transports us out of one of the empty white boxes at Theatrelab on 14th street... Sharp writing and direction distinguish Adams as one to watch in the indie theater circuit, and hopefully beyond."
Uptown Flavor – BODY AWARENESS

"Children of the Future Age is meant to be enjoyed as a unique, multi-level, theatrical experience. With very limited seating running along the perimeter of the space, being in the audience feels like sitting inside of an art installation. You are in the characters’ apartment, right in their private space as they fight, get hurt and get inspired... Buy a ticket in advance and catch it while you can."

"Using the confines of the black-box 13th Street Theater to maximum advantage, director Knud Adams added elements all too familiar to New Yorkers conversant with the Occupy Wall Street protests."
Superconductor – CARMEN

"The ensemble work is effective and well rehearsed with each individual blending with the others while still maintaining the strength of each individual character. The choreography is exciting and integrated smoothly into the story... Artfully directed by Knud Adams, there is never a lapse of momentum or focus."
Woman Around Town – CARMEN