Evil Dead: "Called “Gross out collegiate humor” by director Niclas Olson, “Evil Dead” is quickly becoming a cult musical. TLT artistic director Chris Serface said it has a “Rocky Horror level following.” ...The play is replete with exaggerated blood and gore on the level of the black knight fight scene in “Monty Python and the Holy Grail.”...For the first 10 or 15 minutes, the play is as dumb as the movies it makes fun of; yet the opening night audience was howling at the sophomoric comic bits. Then it began to get funnier and funnier, beginning with Strachan, Martin and Merilo singing “Good Old Reliable Jake,” and from that point on it is insanely hilarious... Edson’s mock heroics are great, especially when he strikes poses with chain saws and other implements of destruction held high. Quinn shows great acting talent as she morphs from a whimpering misfit to an evil zombie. Simpson’s wide-ranging expressions and loose-limbed movements are outstanding. And the rocking music throughout is infectious." Alec Clayton (Tacoma News Tribune)

Evil Dead: "In a bit of an unexpected move, Tacoma Little Theatre has staged their own production of Evil Dead: The Musical, complete with a "splatter zone" on either side of the stage for audience members who don't mind donning ponchos and getting showered with fake blood. While there are plenty of warnings about "adult language, sexual situations," and all manner of violence, this is by no means what you might call an adult show. Rather, Evil Dead: The Musical appeals to the giddy 13-year-old in all of us: cheesy puns, zany slapstick, bodacious babes, righteous dudes, and gallons of blood are all on the table.... (W)hat the story is missing in substance, it more than makes up for in hilarious performances from the whole ensemble. In smaller roles, Aleks Merilo and Eric Strachan make meals of their material. The show is staged dynamically by director Niclas Olson, who works wonders with moving the action repeatedly from the indoors to the outdoors, and back again, with quick set changes. And, once you first see the people in the splatter zone getting drenched with blood, it becomes a never-ending source of delight." - Rev. Adam McKinney (The Weekly Volcano)

Evil Dead: “This reminds me of…” is something no person ever has said about “Evil Dead: The Musical. We are not just talking about this season of community theatre. Nor are we talking about the five years I have been covering community theatre. No one in the history of human speech has ever been “reminded” of something else by this play... Director Niclas Olson (if you met him, you would never believe he had this in him) has formed a cast that is having the time of their lives. The bloodier the stage becomes, the more they throw themselves into their roles... To see a different kind of show, such as this one is a treat. And to see this talented cast be shoulder-deep in gore and still singing on-key is a greater treat still." - Kim Hastings (Drama in the Hood)

The Seagull: "Sliding in under the wire was the New Muses Theatre Company's production of THE SEAGULL. Anton Chekhov's classic tragedy dips its toes into the waters of comedy -- mostly when it comes to the pompous airs of creative types -- but I was mostly met with anxiety. A messy love story populated with desperate artists and fatuous jerks, THE SEAGULL opens with a depiction of every writer's worst nightmare, and only descends further into a deep well of despair. Staged in the cozy confines of Dukesbay Theater, with direction by Niclas Olson, THE SEAGULL presented a disarmingly upfront view of lives falling apart in the name of art and vanity." - Adam McKinney (Weekly Volcano, Best of Theatre 2018-19)

The Seagull: "Though this is an ensemble, with even minor characters given their moments to shine, the core foursome makes up a beautifully solid bedrock. Thomas lends Konstantin a wounded, tightly-wound energy; Dohner establishes Nina's optimism and ambition as honest, not calculating, which makes her arc hit all the harder; Parisotto shows a buried vulnerability underneath Irina's glib, social butterfly exterior; and Olson plays a great horse's ass, relishing Trigorin's lengthy monologues about what a pain it can be to be a gifted writer. Staged in the intimate black box of the Dukesbay Theater, with adaptation and direction by Olson, this is the best use of that modestly sized space I've seen in some time. The audience looms over what is essentially a slow-motion car wreck, as the show's earlier forays into cringe comedy descend into full-blown sorrow, with a bracingly abrupt climax. A fantastic end to New Muses' 10th season." - Adam McKinney (Weekly Volcano)

The Seagull: "The production is all about the acting, which, at least in the performances of the major characters, is excellent. Olson is believably droll in his portrayal of the somewhat aloof writer, and Dohner is marvelously expressive as the overly dramatic Nina, especially in the play within a play. In the earlier parts of the first act, I thought Thomas was straining too hard, but as the play progressed he was quite grounded in the role of Konstantin. The story and the characters are realistic with well fleshed-out human characteristics. This is a play first performed in the final years of the 19th century that set the standard for much of what was to follow in modern theater." - Alec Clayton (Tacoma News Tribune)

​Hamlet: "The best adaptation of Shakespeare's HAMLET I have yet to see was performed by New Muses Theatre Company. Director Niclas Olson, who also wrote this adaptation and played the leading role, downplayed the "Melancholy Dane's" histrionics in much of the play, portraying him as a brooding and more inward-looking young man -- not to mention a spoiled and arrogant rich kid -- so when he did give way to histrionics, it was explosive. The performance was presented in a contemporary setting on an almost empty stage. The small house and minimal costumes and sets brought out the drama more intensely." - Alec Clayton (The Weekly Volcano, Best of Theatre 2018-19)

Hamlet: "Olson has crafted something cinematic – indeed this work comes across as film noir. The actors are mostly in dark costumes; the lighting is moody and enhanced with the use of fog and smoke. The drama flows through a neat series of short scenes that are spaced apart with segments of cool jazz... Olson portrays the figure as brooding, thoughtful and ruminating. He’ll stand in the semi dark, having a sip from his pocket flask and forming his thoughts as he nurses a cigarette. It is like viewing a fire that is fuming rather than burning. Yet the slightest breeze causes the coals to glow and sparks to fly. Hamlet looks dark, but the flames are volatile, apt to flare up at any moment, at the slightest provocation... Fastabend’s Ophelia is cherubic and vivacious... It was Childs that I watched during the final duel... She stands back in the shadows (the lighting in the play is fantastic) and it slowly dawns on her something is terribly wrong... Parisotto brings a number of gifts to bear in her performance. She makes full use of fingers, hands and expressive body language to flesh out her fluency in Shakespearian speech... Xander Layden is fantastic as Laertes... [Victoria Ashley's] large, expressive eyes and dexterity with language are mesmerizing... There is much to love about the ways in which this production brings the Shakespeare classic to life... New Muses is known for bringing classic theatrical material to Tacoma audiences. With “Hamlet,” the scrappy theatrical company has done a magnificent job of showing how Shakespeare’s masterpiece remains timeless. - Dave Davison (Tacoma Weekly)

Hamlet: "Another practically flawless production by New Muses Theatre Company... Olson downplays the “Melancholy Dane’s” histrionics in much of the play, portraying him as a brooding and more inward-looking young man — not to mention a spoiled and arrogant rich kid — so that when he does give way to histrionics, it is explosive... The lighting and costuming on the ghost of King Hamlet is perfectly ghostly. He is barely seen, and, in his overcoat and helmet, he looks powerful... Layden is excitable and expressive as Laertes and more self-contained as Guildenstern. When he performs as a declarative actor in the play put on for the benefit of the king and queen, his preening and posing seemed a parody of actors at the time. Angela Parisotto is nervous and fluttery as Ophelia’s mother and becomes a quite comical character as the grave digger. Fastabend plays Ophelia marvelously. In earlier scenes when she speaks of her love for Hamlet, her eyes and her smile sparkle, making her adoration of the prince palpable... Victoria Ashley plays Rosencrantz and Barnardo with an intensity to match that of Olson’s Prince Hamlet... Every show should be sold out; my recommendation is get thee to Dukesbay." - Alec Clayton (Tacoma News Tribune)

Lysistrata: "Cassie Jo Fastabend does great work as the titular character, crackling with visceral intelligence and confident defiance; she ties together a talented cast, including Jazmine Herrington, Kaylie Hussey, Colleen Michelle, Angela Parisotto, Amber Sayman, LaNita Walters, and Caitlin Waltzer, as the women who take a stand against their warlike husbands. Alex Luque, Keith Ordonez, Mason Quinn, and Nathaniel Walker are all game as the women's hilariously dopey foils - Quinn, especially, shines as ostensibly a man in power, soon rendered a pitiful mess... Niclas Olson directs the production with a feel for the kind of boisterous energy needed to make the ornate dialogue flow, and the ensemble shares a relaxed chemistry that carries much of the show's weight." - The Weekly Volcano

Lysistrata: ​"The New Muses production... is swift-running, colorful, surprising, sensual fun... The cast is wonderful in their embrace of this exhibitionistic romp, which has some pertinent political points to make. Cassie Jo Fastabend is fabulous as Lysistrata, the star of the show.... Angela Parisotto exudes vivacious amusement as Calonice, while Caitlin Waltzer — as Stratyllis — commands others with the help of a horse whip... Mason Quinn, as the chief spokesman of the male characters, is amusingly brought to heel by the ladies. .. Bethany Bevier’s costumes and sound design are fantastic... This is an enjoyable, funny and multifaceted piece of ancient theater that still has the power to speak to us today." - The Tacoma Weekly

Frankenstein: "The New Muses presentation of this archetypal drama is a brilliant construction of theatrical art. The spare cast of four is uniformly impeccable. Olson is great as Victor Frankenstein... Stahl imbues (the Creature) with a sensitive vitality... McRill is spellbinding as she plays a multitude of characters... The sound and the music are sumptuous, but the lighting effects are exquisite... One of the finest New Muses theatrical productions that I’ve seen to date." - Dave R. Davison (Tacoma Weekly)

Frankenstein: ​"For those whose unfamiliarity with the original novel may cause them to picture Frankenstein's monster as a lumbering, grunting giant, New Muses Theatre Company's new production of Frankenstein may be somewhat startling... Stahl, here, is a force of nature. As one might expect, the role of the Creature is a difficult one, but Stahl attacks it with a palpable gusto... Even as the Creature does hideous things in the name of getting revenge on Frankenstein, Stahl imbues the character with an aching sadness." - Rev. Adam McKinney (Weekly Volcano)

Frankenstein: ​"It is past time Tacomans come to know New Muses Theatre Company… Their shows are invariably well produced with outstanding sets and lighting, and fine actors, all despite limited budgets…. [Frankenstein] is a tour de force of acting by the four-person cast, including two cast members who switch constantly between 18 different characters, convincingly so without resorting to costume or makeup or any special effects…. The set, designed by Olson, adds immensely to the drama, and creates a rough and foreboding sense of time and place." - Alec Clayton (Tacoma News Tribune)

A Servant of Two Masters: “Surprisingly fresh, delightful and genuinely funny. The audience was buoyed by the humor, evidenced by bursts of laughter throughout the play. The scenes were crisp and concise and everything moved along at a nice clip. Cleverly chosen snippets of pop music made pithy punctuation marks at the end of each scene.” - Dave R. Davison (Tacoma Weekly)

Peer Gynt: “The New Muses production of the epic utilizes only six actors to portray a bewildering array of characters: cave trolls, Norwegian villagers, sailors, colonial adventurers, Arabian dancing girls, devils and inmates of an insane asylum. Olson stars as Peer Gynt, fleshing the character out in all its mercurial complexity… Performances by New Muses Theatre Company are always a treat, classics like “Peer Gynt” especially so.” - Dave R. Davison (Tacoma Weekly)

Peer Gynt: ​“Henrik Ibsen's Peer Gynt is a monumentally ambitious play... an incredible challenge to any actor and any theater company, which Olson and company handle with seeming ease... The acting throughout is commendable, as most of the cast takes on divergent roles. Hoffman plays the sweet and tender Solveig as the most believable and least outrageous character in the play. Melanie Schaffer is outstanding and in parts almost gleefully evil as The Woman in Green and other parts. Olson's histrionics as the overly dramatic Peer Gynt are a joy to watch as he switches lightning-fast from absurdly comical to intensely dramatic.” - Alec Clayton (The Weekly Volcano)

Of Mice and Men: "Leading the charge here are Mason Quinn and Chris James as George and Lennie, the itinerant farmhands and unlikely friends who draw us into their tough, hard-bitten world with the promise of a far-off dream — some land of their own. This play lives or dies by the ability of whoever plays these two characters, and Quinn and James deliver.... Despite the evocative, minimalistic set of broken fence palings and blue moonlight (Blake York) there are some realistic production touches that bring the Depression-era tale to life: a real pond of water for Lennie to drink, stage smoke for the campfire (be warned: it’s quite an allergy trigger) and a real dog, who completely stole both the scene and the audience’s heart — setting us up perfectly for the heartbreak to come. But it’s Quinn and James — guided by immaculate pacing by director Niclas Olson — who make this show a must-see, drawing out every inch of pain from that final scene and opening up the play’s raw heart for us all to think about. - Rosemary Ponnekanti (Tacoma News Tribune)

“Of Mice and Men” is exceedingly well directed by multi-talented Niclas Olson, who keeps true to the script and shows love for the story and compassion for the blight of the leads. - Lynn Geyer (The Suburban Times)

Of Mice and Men: Directed by Niclas Olson, the actors on the Tacoma Little Theatre stage succeed in smash hit fashion! The Opening Night crowd stood as one in a full-house standing ovation, roaring their appreciation! It's a memorable hit in a season of excellent TLT shows!" -Kim Hastings (Axs.com)

Of Mice and Men: "Tacoma Little Theatre continues an outstanding season with John Steinbeck's classic tale, Of Mice and Men, directed by Niclas Olson, founder and managing artistic director of New Muses Theatre Company, and starring Mason Quinn as George, and Chris James as Lennie. To be clear, this is not just an adaptation of Steinbeck's novella. The play was also written by Steinbeck in 1937, the same year the book was published... I can't imagine a more perfect actor to play the part of Lennie than James. He fits the part physically and acts with confidence. His slow, hesitant and well-articulated speech and his gentle but clumsy movements bring the character to life. Curley's wife is often depicted as a vixen. George calls her a tramp, and other ranch hands call her "tart" and "bitch." Steinbeck wrote in a letter to Claire Luce, who played the part of Curley's wife in the first stage version, "she is not a floozy. ... She is afraid of everyone in the world." That is how Parobek plays her - as a lonely and fearful young woman who longs for human connection. Parobek plays her as a woman who is much more complex than she appears... Blake R. York does his usual outstanding job of set designing. The walls of the bunkhouse and barn made of moveable wooden slats are highly effective, as is Olson's lighting." - Alec Clayton (The Weekly Volcano)

Six Characters in Search of an Author: “(A)n intelligent, challenging, well-written and well-acted play. It is a play that calls into question the relationships between fiction and reality, between actors and the characters they play, and between characters and the author…. It is a wild and imaginative play filled with absurdist arguments about what is real and what is play acting and about the relationships between actors, the characters they play, and authors, without whom the characters cannot exist. It is presented in the round with no set decoration and no set pieces other than a table and a few chairs.... Niclas Olson… adapted Pirandello's play and does a fine job of directing it. The three lead characters, Gallion, Philbrook and Ali, are outstanding, making unbelievable characters totally believable. Ali is brash and seductive, and has a marvelous laugh. Philbrook plays the director as a most complex character, arrogant and sure of herself, which turns out to be a cover-up for self-doubt. She beautifully and convincingly portrays the director's astonishment at the audacity to these interlopers at her rehearsal. And by the way, the director was a man in the original. Gallion plays the father as a kind of bumbling but sincere man who lurches around the stage in a manner that brings to mind Peter Falk as Columbo.“ - Alec Clayton (The Weekly Volcano)

Into the Woods: "New Muses Theatre Company's Into the Woods... is quite different in some important ways, primarily in that it is scaled down with a much smaller set in a smaller space with fewer actors, and those actors are physically much closer to the audience. I like the closeness and the scaled-down set with cheap but highly inventive props… Both princes are charming, sleazy, arrogant narcissists, as portrayed with great comic effect by Olson and Mesford, whose duet on the song "Agony" is the comic highlight of the show... The music throughout is wonderful. Highlights include the wolf's flirtatious "Hello Little Girl" as sung by Mesford to Cattin, "A Very Nice Prince" as sung by Dewey and Smith, and Dewey's "Moments in the Woods." The choreographed movement of the entire cast popping in and out like so many Jack-in-the-Boxes ads a magical quality... Clawson, Cattin, Dewey and Chris Serface as the narrator and "Mysterious Man" turn in marvelous acting jobs… Olson, founder of New Muses, not only sings and acts wonderfully in multiple roles, but he also does a great job of directing this show, rising to the challenge of scaling down a big stage production to fit in a small house." - Alec Clayton (The Weekly Volcano)

Ghosts: "The New Muses production features a rock solid cast beginning with Carrie Schnelker’s riveting performance as Mrs. Alving. Schnelker commands the stage with a stately presence. She is at times imperious and at times vulnerable... Manders is played by John Kelleher, a dynamic actor who breaths life into the role of a man of the cloth who, while earnest, is too beholden to rules of propriety, is a little too willing to take others at their word, and is somewhat overly concerned about his public reputation… (Niclas Olson) plays Oswald, an artist and the son of the Alvings. Oswald has returned from the sunny parts of Europe to wet and dreary Norway where he is in the midst of a malaise. Mrs. Alving has kept Oswald away from the family in order to protect him from his father’s influence. Tragically, however, Oswald proves to be his father’s son… Two other complex characters round out the cast. Monica Lorin plays the vivacious, bright and dutiful maidservant, Regina. Engstrand, the crippled (both physically and spiritually) carpenter is played by Eric Cuestas-Thompson… “Ghosts” is haunted by an air of doom. At one point in the play Mrs. Alving laments that dead ideas and useless beliefs are passed from one generation to the next long after they have outlived their usefulness.” Dave R. Davison (Tacoma Weekly)

A Doll's House: "The set is wonderfully spare. The story unfolds in three acts that flow along at an easy clip… The cast and crew do a good job of presenting the Ibsen masterpiece in a way that seems simple and straightforward. Yet the play’s multiple layers will continue to reveal themselves to the mind long after the curtain has fallen (metaphorically in this case)… Katelyn Hoffman anchors the show in her role as Nora, the titular “doll” of the story. She is sweet and docile with her moralizing and condescending husband Torvald. By the end of the play, however, she has become clear minded; steadfastly defiant of the man whom she now realizes is a stranger to her… Kathryn Grace Philbrook, as Mrs. Linde, and Niclas Olson as Krogstad are great as a pair of worldly characters who are able to find and redeem one another while the “perfect” marriage of Nora and Torvald is falling to pieces." - Dave R. Davison (Tacoma Weekly)

​A Doll's House: "(A Doll’s House) is a smart play that is both intriguing and provocative... the most believable and engaging acting came from the two lead female characters, Katelyn Hoffman as Nora and Kathryn Grace Philbrook as Mrs. Linde. In Hoffman's subtly controlled expressions of anger and joy, I sensed the withheld fury of a woman held prisoner by circumstances. The range of expressions by Philbrook and by Olson as Krogstad, the most complex character in the play, were both noteworthy… I loved the beautifully layered blue-lighted backdrop (design by Olson), and I loved the equally beautiful white dress that Nora wore… Both A Doll's House and Ghosts are plays that are historically important and that intelligently and dramatically depict the evolution of relationships between the sexes. These are plays that should be seen." - Alec Clayton (The Weekly Volcano)

Romeo and Juliet: "(W)hen you discover a production that not only says something new with “Romeo and Juliet,” but says it in a compellingly contemporary way, you rejoice… once the lovers get going, this production starts to soar. Olson makes a moody, Hamlet-ish Romeo, flitting with ease between wholehearted passion and cynical weariness. He woos Juliet (Jenna McRill) with charm and adorable insecurity, and McRill responds with a startling wisdom and a real sweetness… Sara Geiger is perfect for the joshing, tough-faced Benvolio (with a surprise twist); Deanna Martinez brings out both the gabbling comedy of the Nurse and her deeper, caring side. Lance Zielinski makes a calm and philosophical Friar Laurence… Set inside a cinematic scene sequence with an emotive backdrop of pop soundbites (Beyoncé to Lorde), this “Romeo and Juliet” dives inside the teen mind, pulling the Renaissance firmly into our present. If you have a teen in your life, this is the Shakespeare you’ll want them to see. And if you don’t, see it anyway and ponder that crazy period in all our lives when only death is as strong as love." - Rosemary Ponnekanti (Tacoma News Tribune)

​Romeo and Juliet: "The company opened "Romeo and Juliet" at Dukesbay Theater this weekend, and did it with style and grace… Mr. Olson (Romeo) performs the intricacies of Shakespeare's dialogue as well as anyone on stage. His pacing is expertly accurate, and his stage presence is palpable… The lovely Ms. McRill (Juliet) handles the dialogue as if born to the task. She is pensive, in love, angry, and distraught by turns and in exactly the proper measure… And stage combat is one of the true strengths of this show. The intimacy of the Dukesbay stage means the crowd is within 15 feet of the flashing knives. Fakery would be easily seen. But, the actors who fight in this show make the audience believe danger is afoot!" - Kim Hastings (Axs.com)

Miss Julie: ​"The story is deceptively simple yet filled with complex social, philosophical and moral questions. It is well acted and directed." - Alec Clayton, The Weekly Volcano

Miss Julie: "This is the story of class mores – gentry versus servant. It is a story of manipulation – by both to the other. This is an evolution story of a life and death struggle and who – if anyone – wins that struggle... Hoffman [as Julie] exudes the eagerness of a small child coupled with petulance and vindictiveness rounding out the perfect definition of her role... Spencer [as Jean] turns in a strong performance in the role, switching from one persona to another with a forked tongue at the drop of a reputation... smooth and intriguing, the time passes quickly... "Miss Julie" proves the ability of the New Muses company." - Lynn Geyer, The Suburban Times

Angels in America Part II: Perestroika: Suffice it to say that everything that made (Part I: Millennium Approaches) outstanding—a marvelous cast comprised of Christian Carvajal, Anthony Neff, Bonnie Vandver, Phil Folan, Austin C. Lang, Terrence Lockwood, Sarah May, and Andrea Weston-Smart; and a unique set and outstanding direction by Niclas R. Olson—is here in abundance. - Alec Clayton

Angels in America Part I: Millennium Approaches: Under the direction of Niclas R. Olson and with super performances by a cast including Christian Carvajal, Anthony Neff, Bonnie Vandver, Austin C. Lang, Terrence Lockwood, Sarah May, and Andrea Weston-Smart, Olympia Little Theatre's staged reading of Angels in America Part I: Millennium Approaches is a new high for local theater. - Alec Clayton 

Who's Afraid of Virginia Woolf: Nick (Niclas R. Olson) is the all-American boy: handsome, strong, intelligent and poised for success — everything that George had hoped to be but has long since given up on. Olson plays him in an understated manner in the first act, but as the play progresses, he becomes increasingly emotional.... Both Olson and Deane convincingly react to a situation their characters do not know how to handle as they gradually let their inner feelings come out.  - Alec Clayton (Tacoma News Tribune)

​Little Shop of Horrors: [The] set is inspirationally lighted by Niclas R. Olson, who uses about every Fresnel and Leko in the theatre to bring a riveting and almost disco beat to the rock scene.  - Lynne Geyer (The Suburban Times)

​Little Shop of Horrors: Toss in a spinning set that flips from inside to outside of the flower shop and dramatic lighting by Niclas R. Olson and the show has everything.  - Steve Dunkleberger (Tacoma Weekly)

​The Rainmaker: All are hidden in plain sight when not being used, thanks in large part to excellent lighting (and dark) effects by Niclas R. Olson. - Michael Dresdner (Dresdner's Theatre Reviews)

​The Woman in Black: Niclas R. Olson is responsible for the perfect lighting which directs the audience to the sight of the action and enhances the feel of the production. - Lynne Geyer (The Suburban Times)

​The Joy Luck Club: The beauty of this set is dramatically augmented by Niclas R. Olson’s exquisite lighting. - Alec Clayton (Tacoma News Tribune)

​The Joy Luck Club: The lighting in the play is not elaborate but it plays an important role.  As each character speaks, a spotlight shines on her face.  Niclas R. Olson, resident lighting designer at TLT, was wise to keep the lighting simple and effective. - John Larson (Tacoma Weekly) 

​Pride and Prejudice: The lighting ... plays cleverly from one scene and one moment in time to the next, allowing expression without words as the cast keep their roles while shifting the minimalist set (just seven chairs and a table) as if in an 18th-century dance. - Rosemary Ponnekanti (Tacoma News Tribune)

​Pride and Prejudice: Niclas R. Olson designed the outstanding lights which he deftly uses to show the arduous passage of time during a character’s boring speech. - Lynne Geyer (The Suburban Times)

​The Who's TOMMY: Standout ensemble members [include] Matt De La Cruz and Niclas R. Olson as "Local Lads."  They sing strongly, dance with energy, and believably portray a range of characters.  - Alec Clayton (Tacoma News Tribune)

​Someone Who'll Watch Over Me: The simple set is striking and Niclas R. Olson's lighting design sets it off wonderfully. - Joann Varnell (Northwest Military)

​The Farnsworth Invention: When everything works perfectly in theatre, when an outstanding play meets an even better cast and production crew, you come away feeling breathless, exhilarated and moved.     -Michael Dresdner (South Sound Arts Blog)

​The Farnsworth Invention: Niclas R. Olson is equally astounding as Philo T. Farnsworth, ... These two highly talented actors turn in tight performances, bouncing banter of each other like a handball, leaving the audience on the edge of their seats wondering who will prevail.  Lynne Geyer (The Suburban Times)

​The Farnsworth Invention: It seems like a straight forward David-and-Goliath story, but Olson and McClelland bring to life characters that are far from one-dimensional.  - Joe Izenman (Weekly Volcano) 

​Dr. Jekyll and Mr. Hyde: As Lanyon, Olson is properly concerned; as Hyde, he is simply maniacal -- but around Elizabeth, he becomes gentle, showing the unexpected compassionate side of the beast.  He does an excellent job in the role.  - Lynne Geyer (The Suburban Times)

​Sweeney Todd: The Demon Barber of Fleet Street:  Olson’s acting is nuanced. Tobias is a complex and conflicted character who is in distress throughout much of the play, and Olson makes the audience feel Tobias’ pain. -  Alec Clayton (Tacoma News Tribune)

Blithe Spirit:  A fun show with witty humor and great physically comedic moments. – The East County Journal

William Shakespeare's HAMLET:  They gave it their blood, sweat, and tears.  Well received opening night... especially the sword-fight... A great modernization of Hamlet. - The East County Journal

The Importance of Being Earnest: A great hour and forty-five minutes of fun... Not very often do plays fit the mental picture you get from reading.  -  The East County Journal

Anthem: A Musical Theatre Cabaret: Very creative staging using the wooden sets and lighting to make it look interesting and artistic. . . Beautiful voices and good high energy. – The East County Journal