top of page

Into the Breeches

Into the Breeches is one of the funniest plays to be performed at the Alabama Shakespeare Festival in years... Under Shana Gozansky’s excellent direction, what follows is fresh, funny and intelligent. Well sometimes it’s funny. Other times, it’s totally hilarious."

—Montgomery Advertiser

Elemeno Pea

"Shana Gozansky directs with a juggler's aplomb, keeping each of the characters' competing storylines aloft and making sure that everyone gets their due."

—Broadway World


"Shana Gozansky's sensitive direction and careful pacing allow these two characters' relationship to deepen and complicate without a sense of checking off items from a list... Paradise engages both the head and the heart, until a final, light-shedding gesture adds another bit of poetry to mix in with its science."

—Boston Globe

Talk To At Me


Talk to at Me is a tour de force that combines a fearless quartet of actors with Shana Gozansky’s precise, disciplined direction — balancing several different things happening at once — with Meyers’s zany, satirical script.”

The Boston Globe


“[T]his play… explodes in a writhing torrent of ideas and a plethora of strewn rubbish. What to make of it all? Anything you like, perhaps; or, maybe, nothing at all. I came away feeling I’d been treated to a master class in the meaning (and meaninglessness) behind Shakespeare’s famously despairing comment that life is ‘sound and fury, signifying nothing.’ Except, that is, the human capacity for making a mess.”

EDGE Boston

“The characters are gratingly individual, disconnected; they almost scream their opening lines, and never face one another in the breathless scene that begins the play in garish colors and unnatural movement (with thanks to direction by Shana Gozansky)… So it is a disturbing play—unfocused, perhaps, on purpose—and we are left with the image of space in high entropy: piles of crumpled paper, overturned furniture, ghosts of garish neon outfits, and motorboat speech clinging to the empty stage and the detritus of props.”


The Housekeeper

“Shana Gozansky’s direction is fluid and clear-eyed, finding many quiet but affecting moments to savor while making good use of Arianna Knox’s handsomely naturalistic, split-level set… The Housekeeper efficiently hits all its marks.”

—Boston Globe

4000 Miles

“[S]harply directed by Shana Gozansky... This is a beautiful production of a beautiful, softly spoken play. The Hangar has a treasure in its hands.”



The Lover


“A strong ensemble chemistry shines through the production. Shana Gozansky directs with a sharp eye for Pinter’s sly theatrical rhythms, evoking its humor, language, and rituals. She uses a simple but effective set to move the actors around like chess pieces as they dive headlong into his or her character’s erotic fantasies and sexual peccadilloes.”

                                                                                                                                 —The Arts Fuse


“Harold Pinter’s The Lover, a one-act play directed by Shana Gozansky, is being staged with such intensity that it is at once entertaining and unnerving.”



“I’ve seen The Lover many times and it’s never seemed so visceral or so scary. Director Shana Gozansky slowly amps up the emotions, with superb performances from McCaela Donovan as the wife, from Joe Short as the husband and a hilarious cameo from Juan C. Rodriguez, as the milk and egg man.”

                                                                                                                                      —Boston Arts Review


“[T]ightly directed by Shana Gozansky, (including some Stage Combat by Angie Jepson), it’s a wild ride... All three actors are perfect embodiments of vintage Pinter people, at ease with those challenging pauses, an attractive trio fine-tuned by Gozansky."

                                                                      —South Shore Critic

The How and the Why


“The How and the Why is a skillful accomplishment. Any play that lectures without a blackboard and keeps you nodding rather than nodding off is to be admired.”

—The Phoenix

bottom of page