“The mixed, shifting layers of myth and format gave the show a charm and a depth beyond what just a rock show, a play, or a spoken word performance could achieve. Some things you can’t just say out loud. Some things you have to say through an internal spirit being, or through a rock song.”
- Oregon ArtsWatch
“The show concluded with a hopeful and bombastic pop song about the power of love, and I'd be lying if I said it didn't shift some stuff around in the place where I store my feelings.”
-The Portland Mercury
"Fantastical, odd and sometimes so tender it's raw, 'Ghost Rings' is a pop concert with a drama inside."
- The New York Times
"The sight and sounds of Ghost Rings will linger in your mind long after you see it."
- New York Theatre Review
"Satter’s women fantasize about procreation without men, about holding a piece of another woman in their bodies. In language that is revelatory through its very strangeness, Satter echoes this desire."
-Culturebot
"Ms. Satter is a genre-and-gender-bending, visually exacting stage artist who has developed an ardent following among downtown aesthetes with a taste for acidic eye candy and erotic enigmas."
– New York Times
"Ms. Satter’s work is a vitalizing blend of coziness and estrangement, weirdness and familiarity."
– New York Times
"Ancient Lives plays out in a dream like quality... The production at the Kitchen is a feast of impeccable design work."
– New York Theatre Review
"There is a strikingly synthetic quality to Tina Satter's seductive and mesmerizing Ancient Lives, a play that entwines adolescence and obsolescence in order to un-tell a familiar story."
– ARTFORUM
"'Dancing With the Stars' it most definitely is not. And that’s part of what makes Tina Satter’s 'House of Dance,' at the Abrons Arts Center, so very refreshing."
– New York Times Critic's Pick
"Might be one of the finest multimedia explorations of musically inclined back-to-nature hipster witches ever."
– Blouin ArtInfo
"In a way, those two worlds—that of women’s sports and Henry James’s universe—inform Satter’s visually ascetic, physical, and feminist work."
– New Yorker
"A sort of fashion shoot on the moon reading someone’s diary excerpts while on LSD ... an incomprehensible but intriguingly far-out riff."
– The New Yorker
"I think this is the first show we saw where the costumes were done entirely by Commes des Garcons." Were they?!" "No, but it looked like they were."
"Her own abstract work is a distilled homage to his depictions of subliminal emotional chaos infused with contemporary frankness and a feminist sensibility."
– Backstage
"Half Straddle has specialized in pitch-perfect lo-fi throwback spectacles, arch reminders of high school and its terrible grand stakes. Her artistic relatives include Wes Anderson and—with her ensemble of gender-playful, deadpan actors—Andy Warhol."
– TimeOut New York
" And if you think deconstructionist, experimental theater must be dry and dreary, the Half Straddle, an emerging troupe, has another surprise for you."
-New York Times Critic's Pick
"Satter's Half Straddle company is launching a particularly coordinated goal-line drive to a new feminist form."
– TimeOut New York
"How refreshing to experience an hour of theater that you just can't pigeonhole, that makes "sense" aesthetically but not literally."
– Gothamist
"The outsized and peculiar emotions of both high school and sports are brought to bear on this stylized field, twisted into hilariously nonsensical yet somehow appropriate lines like, "It's hard to make your brain like a sky and then add in hurricanes."
– L Magazine
"But in her ridiculous, enchanting musical Family, her creation earns the right to kick back by dedicating itself to a well-defined world in which events that could have seemed self-consciously wacky instead feel inevitable and, yes, at ease."
– TimeOut New York
“On one stage we have both real fear and feminine swagger—two emotions we rarely see together. And these feelings are the show. These artists deserve rabid groupies.”
-TimeOut New York