The Native Society (June 2019)

The New York Times - Faces to Watch (February 2015)

The Bushwick Starr (February 2015)

American Theatre - The Cruel Humanity and Danger of Social Security (February 2015) 

Cultradar (February 2015) 

American Theatre - Idiosyncrasies of Language (February 2014)

Adam Szymcowicz: I Interview Playwrights (January 2014)

BODY Literature (February 2013)




“Masciotti’s vital… Raw Bacon From Poland …With great empathy and precision… shows just how limited life’s options can quickly become for returning veterans… a compelling and richly detailed portrait of an antihero emblematic of his country, at once ferocious and fragile… Masciotti is fond of letting the seams of language show. She writes dialogue that is heavily salted with unexpectedly evocative malapropisms and other linguistic slippages that remind us of what an intensely personal, malleable, and imprecise tool language is for positioning ourselves in relationship to others, for making ourselves known and understood.” Project MUSE Theatre Journal (Johns Hopkins University Press, Volume 70, September 2018)

"Ms. Masciotti’s distinctively awkward dialogue has never sounded more organic, or more revelatory of character. [She] has an ear for the quirks and imperfections of everyday speech...There’s an urgency, as well as a spontaneity... that suggests someone struggling to pull confidence out of chaos.... it is the language... that truly lights up the ashen world in which the play is set... priceless." Ben Brantley, The New York Times (Critic's Pick, September 2017)  

"Christina Masciotti’s best tool is her ear. She hears the twists and malapropisms that give language its occasional wrong-foot poetry, and her work (such as the extraordinary Social Security) always features linguistic filigree. It’s there again in Raw Bacon From Poland." Time Out New York (September 2017)

“Masciotti has… an unerring gift for speech… The final beat is gutting” - The Village Voice (September 2017)

"Already angry, violent, macho, and proud, Dennis’s many issues – from divorce and custody battles to drug addiction and poverty – are compounded by PTSD, and the details of his problematic life trickle out beautifully with humor and explosiveness by actor Joel Perez in the lead."  Plays to See (5 out of 5 stars, September 2017)

"A bold, emotionally explosive... searing new play Raw Bacon From Poland... is… intense, fast-moving... calibrated for maximum impact." Theatre is Easy (A Best Bet Pick).


"Christina Masciotti's wormwood-bitter comedy about a crotchety old lady falling prey to her landlord needed precise execution, which it got from director Paul Lazar and crackerjack cast Cynthia Hopkins, T. Ryder Smith, and the astonishing Elizabeth Dement. Truthful about how money and society work and funny as fuck, Masciotti is major - she is our heir to Moliere." - Helen Shaw's Best Shows of 2015, Divers Alarums

"Christina Masciotti finds the magic and weirdness among ordinary folk." - Time Out New York (1 of 5 Critics' picks; March 2015)

"This dramatist's implicit thesis is that, if you listen closely enough, there's significant artistry in insignificant talk...Ms. Masciotti mines the banality of everyday chatter for heroic poetry." - Ben Brantley, The New York Times (February 2015)

"Masciotti's writing is superb." Time Out New York (5 out of 5 stars; February 2015)

"Ms. Masciotti's recent plays.... were noted for their poetic command of language and uncommon kindness towards troubled characters." - Wall Street Journal (February 2015)

"Social Security shares character information with subtlety." The Village Voice (February 2015)

"Among the great many female characters in modern drama... Complex, funny, and heartbreakingly frustrating." - New York Theatre Review (February 2015)



" Her character work can't be surpassed." - Time Out New York (4 out of 5 stars; February 2014)

"Remarkable...ADULT acquires a kind of quiet force." -  The Village Voice (February 2014)

"This playwright has a distinctive gift for finding an original poetry in everyday speech." - The New York Times (February 2014)

"Masciotti keeps a deft grip on specificity, resisting the easy out of broad, generational gaps... the playwright's masterstrokes are in fine tip... Everything come[s] from a place of character and world building." - nytheatre now (February 2014)

"Incisively written...a verbal tennis match..fascinating." Theater Pizazz (February 2014)



“Imaginative… humorous text that ends with a poetic hope and the different gaze of a woman called Mondo… Award-winning playwright Christina Masciotti based the character - an uprooted person cut off from everything she knows - on her mother who emigrated from Greece.” Corriere Della Sera Milano (October 2017)

"Christina has a gift for reproducing...language with its 'slips in speech' and fractured idioms... nouns become verbs... images are compressed... Christina celebrates these quirks of misspeaking... She has carved out a space in today's experimental theatre with her real stories about real people." - Theatre Forum (Feb 2015)

"Beautiful characters... sublime" Le Clou da lans Planche (March 2014)

"There's nothing orthodox about these characters.... Masciotti is a writer of promise, not least because she understands there is no single way of seeing." - The Boston Globe (Feb 2013)

Top 10 of 2010 - Time Out New York (December 2010)

"Powerful little gem... severely lovely." - Time Out New York (November 2010)

"A showcase for Ms. Masciotti's gift for writing monologues for hapless people who achieve eloquence, not despite, but because of their awkwardness." - The New York Times (September 2010)

"(4 out of 5 stars) Masciotti's language is beautifully wrought, a keen interplay of the boring and the weirdly poetic." - Time Out New York (September 2010)

"Brilliant...and unforgettable." - The New Yorker (September 2010)

"Masciotti has a gift for finding small moments and mining them for meaning." - Culturebot (September 2010)

"Truly a sight for sore eyes" The Village Voice (September 2010)



Photo by Maria Baranova

Photo by Maria Baranova

Photo by Maria Baranova

Photo by Maria Baranova