Published Articles:
Interviews and Other Mentions:
"Hub Theatre Stages Death Row Drama" - Boston Neighborhood Network (BNN) News
Edge Media Network - "On the 'Fence' :: A Chat With Death Penalty Drama Director Daniel Bourque"
Super Space - Week 49 | Artist 49: Created to Create 2016 | Mark Krawczyk, Actor/Acting Instructor/Deviser/Director
The Washington Post - "Taffety Punk takes on 'Oxygen'"
Theatre Washington - "Why Theatre Matters: Because We Matter"
The Washington Post - "WWII Drama hits home for Polish American actor"
view of the arts - "In Conversation with Mark Krawczyk"
Edge Media Network - "On the 'Fence' :: A Chat With Death Penalty Drama Director Daniel Bourque"
Super Space - Week 49 | Artist 49: Created to Create 2016 | Mark Krawczyk, Actor/Acting Instructor/Deviser/Director
The Washington Post - "Taffety Punk takes on 'Oxygen'"
Theatre Washington - "Why Theatre Matters: Because We Matter"
The Washington Post - "WWII Drama hits home for Polish American actor"
view of the arts - "In Conversation with Mark Krawczyk"
What the critics have said...
ON PLAYING JOHN BRENNAN IN HUB THEATRE COMPANY OF BOSTON'S COYOTE ON A FENCE:
NOMINATED - 2017 IRNE AWARD FOR BEST PRODUCTION (FRINGE)
ONE OF THE BEST PRODUCTIONS OF 2017!
- The Arts Fuse
ONE OF THE BEST PRODUCTIONS OF 2017!
- The Arts Fuse
"All four actors present stellar performances! ... Mark Krawczyk gives a pristine, emotional, roller coaster performance as John Brennan, the fascinating intellectual."
- Boston and Beyond
"Look for two strong company debuts in the roles of the inmates. Mark Krawczyk has the right combination of volatility and discontent as Brennan. Cameron Beaty Gosselin captures Reyburn's curious naiveté and cluelessness as well as his lethal hate. Krawczyk wisely understates Brennan's impatience with Reyburn's blind adherence to white supremacist doctrine. Krawczyk and Gosselin make the evolution of their interaction as cell neighbors telling and persuasive."
- My South End
"The growing, but strained, bond between Reyburn and Brennan is portrayed with nuance and tension by Mr. Gosselin and Mr. Krawczyk. Their performances are among the most powerful and memorable of this season."
- The White Rhino Report
"As Brennan, Krawczyk is intense and driven ... [As the guard, Vital] forges strong connections with Krawczyk’s Brennan, which makes for some rich unspoken moments."
- The Arts Fuse
"In the cell next to [Bobby's] is an intelligent but arrogant prison-community organizer (Mark Krawczyk in a bravura performance) who advises inmates on appeals and who isn’t much interested in helping the new guy on the block. His journey is ours ... Bravo, to the whole cast, especially the actors portraying the murderers."
- Boston Arts Review
"The performances themselves were all around quite stunning ... To make both an interesting plot and world inhabited by characters that are both relatable and human is the ultimate accomplishment of any show. Adding the fact that the main characters are men who have murdered in cold blood and are still able to trigger sympathy and compassion from the audience makes Coyote on a Fence a great theatrical success, and a show that anyone can find enjoyable."
- The New England Theatre Geek
"Coyote On A Fence is Honest, Moving"
- New Worcester Spy
"Cameron Gosselin and Mark Krawczyk were incredibly strong as Bobby and John. Watching how their characters clashed in their scenes together was riveting. Even though they were mere feet from the audience, they never faltered from the scene they were in and the character they were portraying. They were rooted in the way their characters thought, spoke, and reacted to others. Their accents and mannerisms were realistic and believable … John spoke one of the strongest lines in the play as he described Bobby’s personality: that the only person who showed him love, also taught him to hate."
- OnStageBlog.com
“[John] explodes at times during the play over this anger and tension within him and that is…really, really nicely conveyed by Krawczyk.”
"Prompt Corner" on 88.1 WMBR Cambridge - Sunday, April, 2, 2017
- Boston and Beyond
"Look for two strong company debuts in the roles of the inmates. Mark Krawczyk has the right combination of volatility and discontent as Brennan. Cameron Beaty Gosselin captures Reyburn's curious naiveté and cluelessness as well as his lethal hate. Krawczyk wisely understates Brennan's impatience with Reyburn's blind adherence to white supremacist doctrine. Krawczyk and Gosselin make the evolution of their interaction as cell neighbors telling and persuasive."
- My South End
"The growing, but strained, bond between Reyburn and Brennan is portrayed with nuance and tension by Mr. Gosselin and Mr. Krawczyk. Their performances are among the most powerful and memorable of this season."
- The White Rhino Report
"As Brennan, Krawczyk is intense and driven ... [As the guard, Vital] forges strong connections with Krawczyk’s Brennan, which makes for some rich unspoken moments."
- The Arts Fuse
"In the cell next to [Bobby's] is an intelligent but arrogant prison-community organizer (Mark Krawczyk in a bravura performance) who advises inmates on appeals and who isn’t much interested in helping the new guy on the block. His journey is ours ... Bravo, to the whole cast, especially the actors portraying the murderers."
- Boston Arts Review
"The performances themselves were all around quite stunning ... To make both an interesting plot and world inhabited by characters that are both relatable and human is the ultimate accomplishment of any show. Adding the fact that the main characters are men who have murdered in cold blood and are still able to trigger sympathy and compassion from the audience makes Coyote on a Fence a great theatrical success, and a show that anyone can find enjoyable."
- The New England Theatre Geek
"Coyote On A Fence is Honest, Moving"
- New Worcester Spy
"Cameron Gosselin and Mark Krawczyk were incredibly strong as Bobby and John. Watching how their characters clashed in their scenes together was riveting. Even though they were mere feet from the audience, they never faltered from the scene they were in and the character they were portraying. They were rooted in the way their characters thought, spoke, and reacted to others. Their accents and mannerisms were realistic and believable … John spoke one of the strongest lines in the play as he described Bobby’s personality: that the only person who showed him love, also taught him to hate."
- OnStageBlog.com
“[John] explodes at times during the play over this anger and tension within him and that is…really, really nicely conveyed by Krawczyk.”
"Prompt Corner" on 88.1 WMBR Cambridge - Sunday, April, 2, 2017
|
ON PLAYING JIMMY IN MARTHA'S VINEYARD PLAHOUSE'S SWEETENED WATER: |
ON THEATER J'S OUR CLASS:
ONE OF THE TOP 12 PLAYS OF 2012!
NOMINATED FOR THE HELEN HAYES OUTSTANDING BEST RESIDENT PRODUCTION AWARD!
ONE OF THE TOP 12 PLAYS OF 2012!
"A three-hour play about a hideous crime against humanity is an intimidating task for any director. Derek Goldman's production, with a sterling ensemble cast and deceptively simple design elements, made this one of the best plays of the season."
- The Washingtonian (2012 Retrospective)
"This is a deeply moving show...profoundly beautiful..."
- The Washingtonian (Initial Review)
"...fascinating…startling…astonishing...the purest kind of ensemble piece...It’s an important play, exhibiting the urgent assets of drama that force its way into the conscience.... "
- The Washington Post
"How on earth did they pull that off?-The exceptional cast needs only their voices and bodies to show the passage of time...the show maintains a remarkably breathless focus and intensity from start to finish."
- The DC City Paper
"Goldman's extraordinarily talented ensemble works smoothly, turning Slobodzianek's unique characters into immensely credible human beings."
- Washington Examiner
"On a dark, sparse set, the actors do a fantastic job..."
- Baltimore Post-Examiner
"The most remarkable aspect of Theater J’s production is the superb acting company director Derek Goldman has assembled. They work as a finely tuned ensemble, creating individual portraits that work seamlessly as a whole."
- DC Theatre Scene
"Five Stars...An outstanding cast flawlessly depicts the complex relationships between Poles and Jews in all their subtlety and inscrutability, telling the story both literally and figuratively."
- DC Metro Theatre Arts
"The ensemble is uniformly excellent, and each of their stories is given roughly equal weight."
- MD Theatre Guide
"a ten-member cast of local actors uniformly shines...Theater J’s timely and powerful production of Our Class…offers some of the best acting one can witness in Washington, DC."
- BroadwayWorld.com
"In this taut and chilling production, the lessons Our Class teaches are compelling ones about history and veracity, guilt and innocence, heroism and cowardice. It's an important play, one well worth the three-hour investment."
- Washington Jewish Week
ONE OF THE TOP 12 PLAYS OF 2012!
"A three-hour play about a hideous crime against humanity is an intimidating task for any director. Derek Goldman's production, with a sterling ensemble cast and deceptively simple design elements, made this one of the best plays of the season."
- The Washingtonian (2012 Retrospective)
"This is a deeply moving show...profoundly beautiful..."
- The Washingtonian (Initial Review)
"...fascinating…startling…astonishing...the purest kind of ensemble piece...It’s an important play, exhibiting the urgent assets of drama that force its way into the conscience.... "
- The Washington Post
"How on earth did they pull that off?-The exceptional cast needs only their voices and bodies to show the passage of time...the show maintains a remarkably breathless focus and intensity from start to finish."
- The DC City Paper
"Goldman's extraordinarily talented ensemble works smoothly, turning Slobodzianek's unique characters into immensely credible human beings."
- Washington Examiner
"On a dark, sparse set, the actors do a fantastic job..."
- Baltimore Post-Examiner
"The most remarkable aspect of Theater J’s production is the superb acting company director Derek Goldman has assembled. They work as a finely tuned ensemble, creating individual portraits that work seamlessly as a whole."
- DC Theatre Scene
"Five Stars...An outstanding cast flawlessly depicts the complex relationships between Poles and Jews in all their subtlety and inscrutability, telling the story both literally and figuratively."
- DC Metro Theatre Arts
"The ensemble is uniformly excellent, and each of their stories is given roughly equal weight."
- MD Theatre Guide
"a ten-member cast of local actors uniformly shines...Theater J’s timely and powerful production of Our Class…offers some of the best acting one can witness in Washington, DC."
- BroadwayWorld.com
"In this taut and chilling production, the lessons Our Class teaches are compelling ones about history and veracity, guilt and innocence, heroism and cowardice. It's an important play, one well worth the three-hour investment."
- Washington Jewish Week
ON PLAYING "HIM" IN TAFFETY PUNK'S PRODUCTION OF OXYGEN:
"The piece mostly mesmerizes but, from time to time, mystifies...
Krawczyk and [Esther] Williamson walk a tricky line as the Russians. Krawczyk bounds around the performance space like a rocker, his eyes lined in black, clutching a mike as if he were about to eat it. He sulks when Williamson, a rational, sharply focused counterpoint to his id-on-the-loose, berates Him for being 'incapable of feeling anything for other people.'
...Williamson and Krawczyk fill the space with fiery energy and see to it that Vyrypaev’s point remains sharp amid the torrent of words and music."
- The Washington Post (Original Production)
"The fragments of story are hard — perhaps impossible — to follow logically; you just have to let the fever-dream aesthetic wash over you. Krawczyk, in sunglasses, cargo pants and a T-shirt that reads “Ukraine,” is an intriguingly
aggressive and haunted figure who glares at theatergoers with crazed, wide eyes and spins a mike stand menacingly. Williamson, in a purple minidress, is a more rational but equally forceful figure who suggests a rebellious resistance to macho culture even when she condescends to share the bed with Him or to allow Him to stroke her arm."
- The Washington Post (Remount)
"The darker themes of Oxygen stare the show’s small audience quite literally in the face as soon as the play begins. Under a harsh, colorful glow...we come under the relentless glare of actor Mark Krawczyk, playing a disturbed young man grown intensely upset by… pretty much everything. Krawczyk’s bug-eyed performance is thrillingly unstable, fueled by a dangerous sort of brooding mania."
- DC Theatre Scene Remount)
"Three stellar actors use intricate and rhythmic spoken word, backed by catchy beats (composed by local DC bands), to depict the story of urban boy ("He," Mark Krawczyk) meets provincial girl ("Her," Esther Williamson) in contemporary Russia ... Williamson and Krawczyk, in particular, bring relentless energy, angst, and drama at every moment of the event and capture the tumultuous nature of the Sasha-Sasha relationship."
- BroadwayWorld.com (Remount)
"The Him, played by Mark Krawczyk, was a volcanic expression of male in search of...oxygen. He is a man wanting more than anything to find what is necessary. In a 21st century holocaust of senseless quasi-personal violence, Godless commandments, danceless music, and loveless sex, he wants what is life-giving. Krawczyk throws himself totally into his role, which is part punk-star, part little boy lost."
- MD Theatre Guide (Remount)
"Krawczyk easily slips from intimidating and intense to lost and pitiable while Williamson transforms herself into every kind of woman imaginable with the subtlest of movements. [Chris] Curtis and [Lise] Bruneau molded their actors’ movements around Peter Adams’ minimalist set and the result is explosive tension between Williamson and Krawczyk."
- DC Metro Theater Arts (Remount)
"Krawczyk and Williamson are enjoyably and chillingly intense..."
- The Pink Line Project (Original Production)
"The actors...gave a fantastic performance with great chemistry and high energy... Oxygen is a success. Both the actors and directors make excellent choices and the ideas of the play [are] brilliant. "
- DC Metro Theater Arts (Original Production)
Krawczyk and [Esther] Williamson walk a tricky line as the Russians. Krawczyk bounds around the performance space like a rocker, his eyes lined in black, clutching a mike as if he were about to eat it. He sulks when Williamson, a rational, sharply focused counterpoint to his id-on-the-loose, berates Him for being 'incapable of feeling anything for other people.'
...Williamson and Krawczyk fill the space with fiery energy and see to it that Vyrypaev’s point remains sharp amid the torrent of words and music."
- The Washington Post (Original Production)
"The fragments of story are hard — perhaps impossible — to follow logically; you just have to let the fever-dream aesthetic wash over you. Krawczyk, in sunglasses, cargo pants and a T-shirt that reads “Ukraine,” is an intriguingly
aggressive and haunted figure who glares at theatergoers with crazed, wide eyes and spins a mike stand menacingly. Williamson, in a purple minidress, is a more rational but equally forceful figure who suggests a rebellious resistance to macho culture even when she condescends to share the bed with Him or to allow Him to stroke her arm."
- The Washington Post (Remount)
"The darker themes of Oxygen stare the show’s small audience quite literally in the face as soon as the play begins. Under a harsh, colorful glow...we come under the relentless glare of actor Mark Krawczyk, playing a disturbed young man grown intensely upset by… pretty much everything. Krawczyk’s bug-eyed performance is thrillingly unstable, fueled by a dangerous sort of brooding mania."
- DC Theatre Scene Remount)
"Three stellar actors use intricate and rhythmic spoken word, backed by catchy beats (composed by local DC bands), to depict the story of urban boy ("He," Mark Krawczyk) meets provincial girl ("Her," Esther Williamson) in contemporary Russia ... Williamson and Krawczyk, in particular, bring relentless energy, angst, and drama at every moment of the event and capture the tumultuous nature of the Sasha-Sasha relationship."
- BroadwayWorld.com (Remount)
"The Him, played by Mark Krawczyk, was a volcanic expression of male in search of...oxygen. He is a man wanting more than anything to find what is necessary. In a 21st century holocaust of senseless quasi-personal violence, Godless commandments, danceless music, and loveless sex, he wants what is life-giving. Krawczyk throws himself totally into his role, which is part punk-star, part little boy lost."
- MD Theatre Guide (Remount)
"Krawczyk easily slips from intimidating and intense to lost and pitiable while Williamson transforms herself into every kind of woman imaginable with the subtlest of movements. [Chris] Curtis and [Lise] Bruneau molded their actors’ movements around Peter Adams’ minimalist set and the result is explosive tension between Williamson and Krawczyk."
- DC Metro Theater Arts (Remount)
"Krawczyk and Williamson are enjoyably and chillingly intense..."
- The Pink Line Project (Original Production)
"The actors...gave a fantastic performance with great chemistry and high energy... Oxygen is a success. Both the actors and directors make excellent choices and the ideas of the play [are] brilliant. "
- DC Metro Theater Arts (Original Production)
ON PLAYING SERGIUS SARANOFF IN CONSTELLATION THEATRE'S PRODUCTION OF ARMS & THE MAN:
"Shaw has painted these characters with very broad strokes, and Stockman has directed the actors to play in a full melodramatic style. Krawczyk pulls it off especially well by finding a way to reel between heroic posturing and pummeling himself in moments when he finds he is not quite so perfect as he had believed. He mixes the ingredients of comedy with great flare. Think early Kevin Kline meets Monty Python."
- DC Theatre Scene
"As Sergius Saranoff, Raina’s smarmy, mustachioed husband-to-be, Mark Krawczyk delivers some of the show’s biggest laughs with his over-the-top physical presence."
- Washingtonian
"Director, Allison Arkell Stockman chooses to strike the pitch of the production exceptionally high. Mark Krawczyk is appropriate and engaging in this mode."
- MD Theatre Guide
"...[T]he heightened theatricality of Constellation’s style is well-suited here, especially with spot-on performances like Krawczyk’s sneeringly pompous Sergius."
- The dcist
- DC Theatre Scene
"As Sergius Saranoff, Raina’s smarmy, mustachioed husband-to-be, Mark Krawczyk delivers some of the show’s biggest laughs with his over-the-top physical presence."
- Washingtonian
"Director, Allison Arkell Stockman chooses to strike the pitch of the production exceptionally high. Mark Krawczyk is appropriate and engaging in this mode."
- MD Theatre Guide
"...[T]he heightened theatricality of Constellation’s style is well-suited here, especially with spot-on performances like Krawczyk’s sneeringly pompous Sergius."
- The dcist
ON PLAYING STEVEN IN TAFFETY PUNK'S PRODUCTION OF dREAMtRIPPIN
“DREAMtRIPPIN’, ” directed by Kelsey Mesa, dives into the car-lulled dreams of two colleagues driving to a professional conference in Middle America. Has the mild-mannered Karen (a compelling Esther Williamson) declared her love for the obnoxious — or maybe just moody — Steven (the spot-on Mark Krawczyk)?"
- The Washington Post
"Lastly, just when you might have thought you've gotten more than the share of comedy and drama than you might usually have gotten for a $40 ticket, there comes Thomas Michael Campbell's hilarious reality-warper dREAMtRIPPIN’, directed by Kelsey Mesa. Two co-workers, Karen (Esther Williamson) and Steven (Mark Krawczyk) are on their way to an out-of-town conference. Beyond that, it's hard to know what's fact and what's Freudian, as one or both of the characters snap into and out of car-naps, having dreams about all the awkward ways they could interact over the course of the trip. Each dream-ending moment, with a jolt of light and the character snapping awake, is funnier and more poignant than the last. Theatre of this unpretentious quality should be the minimum standard we all seek."
- The dcist
- The Washington Post
"Lastly, just when you might have thought you've gotten more than the share of comedy and drama than you might usually have gotten for a $40 ticket, there comes Thomas Michael Campbell's hilarious reality-warper dREAMtRIPPIN’, directed by Kelsey Mesa. Two co-workers, Karen (Esther Williamson) and Steven (Mark Krawczyk) are on their way to an out-of-town conference. Beyond that, it's hard to know what's fact and what's Freudian, as one or both of the characters snap into and out of car-naps, having dreams about all the awkward ways they could interact over the course of the trip. Each dream-ending moment, with a jolt of light and the character snapping awake, is funnier and more poignant than the last. Theatre of this unpretentious quality should be the minimum standard we all seek."
- The dcist
ON PLAYING DROMIO OF EPHESUS IN BALTIMORE SHAKESPEARE FESTIVAL'S
THE COMEDY OF ERRORS:
"The engaging Mark Krawczyk earns his share of laughs as [Dromio of Ephesus]."“
- The Baltimore Sun
"The most endearing performances are by [Peter] Boyer and [Mark] Krawczyk as the twin Dromios. Dark-suited and bowler-hat topped, they prove to be delightfully limber as they get kicked around by their irate bosses and seemingly everybody else. Their pratfalls make them seem like they've stumbled in from a slapstick film."
- Howard County Times
"Both of the Dromios are entertaining..."
- Baltimore City Paper
ON PLAYING SYLVESTRE IN BALTIMORE SHAKESPEARE FESTIVAL'S SCAPIN!
"Mark Krawczyk, as Octave's valet, Sylvestre, gets in some great comic licks, especially when the character experiences an unexpected 'Taxi Driver' moment."
- The Baltimore Sun
"Mark Krawczyk, who plays Sylvestre--Argante's servant--gets a lot of laughs, particularly in a scene where he postures as a tough guy by reeling off intimidating lines from a string of films that includes Lord of the Rings and Taxi Driver."
- Baltimore City Paper
ON PLAYING SOLYONY IN CONSTELLATION THEATRE'S THREE SISTERS:
"Several of the actors do a particularly deft job navigating the ebb and flow of comedy and melancholy...Rubbing his hands neurotically with cologne, Mark Krawczyk's Solyony, an army captain, is simultaneously abrasive, unhinged and vulnerable."
-The Washington Post
"There are some risk-takers who raise the temperature on every entrance. Mark Krawczyk’s Solyony has a rising psychosis that provides a badly-needed element of danger. “If that child were mine I’d fry it in a skillet and eat it,” he says in easily the funniest, scariest moment of the production."
-We Love DC
"As a volatile captain forever trying to mask the stink on his hands with emergency applications of cologne, Mark Krawczyk is believably unhinged."
-The Washington Examiner
-The Washington Post
"There are some risk-takers who raise the temperature on every entrance. Mark Krawczyk’s Solyony has a rising psychosis that provides a badly-needed element of danger. “If that child were mine I’d fry it in a skillet and eat it,” he says in easily the funniest, scariest moment of the production."
-We Love DC
"As a volatile captain forever trying to mask the stink on his hands with emergency applications of cologne, Mark Krawczyk is believably unhinged."
-The Washington Examiner
ON PLAYING THE DOUGLAS IN FOLGER THEATRE'S HENRY IV PART 1:
"Krawczyk is also terrific as the carnivorous, practical Douglas, an ally more to Hotspur’s liking."
-DC Theatre Scene
"Tucked among the swords and power struggles are characters of fiery exuberance and menace, including Mark Krawczyk as the killing machine Scotsman Douglas. . ."
-Express Night Out
ON PLAYING CONRADE IN EVERYMAN THEATRE'S MUCH ADO ABOUT NOTHING:
"The two henchmen (Mark Krawczyk and Kaveh Haerian) do their ugly best to put a kink into the proceedings ... Across the board, the acting is excellent, from the smallest ensemble role to the leads."
- BroawayWorld.com
ON PLAYING THE CUSTODIAN IN IMAGINATION STAGE'S LOST AND FOUNDLING:
"Mark Krawczyk and Chris Mancusi turn in amiable versions of Staci's colleagues, a blithe custodian and a doddering sales associate."
-The Washington Post
ON PLAYING MERKIN IN THE TOP FLOOR THEATRE'S BELOW THE BELT:
"A grating buzzer summons the lock-horn bunkies to the office of bossman Merkin (Mark Krawczyk, intense but for a few slips), a master of honey-then-vinegar tactics. He tells Dobbitt that he should feel free to come and go as he pleases, then sends him on his way with a curt 'you're dismissed.'"
- Baltimore City Paper
- Baltimore City Paper