Planet Connections Theatre Festivity

(AEA Showcase Code, NYC):

OCCASION FOR SIN (2017) - "The collaborative work of Dan O’Driscoll, Joe DiNozzi, and Shelly Hutchinson in choreography is commendably masterful. The dance choreography done by Shelly Hutchinson is adept at not only telling the story but also in leaving audience members at the edges of their seats. Dan O’Driscoll and Joe DiNozzi manage to have their fight choreography both enticingly realistic and poetically beautiful. The most striking scenes are the ones taking place on the battlefield, where the choreography is unequivocally piercing, astonishing, and gorgeous. The way in which the actors fight not only propels the plot forward, but they also create an engrossing spectacle." - Outer-Stage, Journal of Independent Stage and Film Reviews
Arkansas Repertory Theatre (LORT, Little Rock):

THE MIRACLE WORKER (2005) - "It required the six-time Rep veteran (fifth-grader Mary Catering Ward) to perform numerous and believably choreographed fight scenes with (Anne) Sullivan." - The Times - Little Rock, AR

"The battle scene at the dining room table, where Sullivan gets Helen to for her napkin, but not before much cutlery and many punches are thrown, is a tour-de-force." - Arkansas Democrat Gazette - Little Rock, AR

THE THREE MUSKETEERS (1998) - "The talents of fight director O'Driscoll are put to good and heavy use. Ensemble members lunge and stab and fence and fall to their deaths skillfully and believably in a series of skirmishes." - The Times - Little Rock, AR

"The sword battles were both impressive and realistic enough to give one pause" - Arkansas Democrat Gazette - Little Rock, AR

"Dan O'Driscoll's fight choreography is spectacular…" - Arkansas Times - Little Rock, AR

Judith Shakespeare Company (AEA Showcase Code, NYC):

RICHARD III (2004) - "The numerous murders owed their precision tofight director Dan O'Driscoll." - OOBR (Off-Off-Broadway Review

JULIUS CAESAR (2000) - "O'Driscoll's brilliant fight choreography was a highlight of the production, and it was gratifying to see women so skilled and confident in their execution of complex swordplay." - OOBR (Off-Off-Broadway Review)

Historic Times Company (NYC):

HISTORIC TIMES (2001) - "The 1944 New Year's Eve party introducing the historic characters was particularly well staged. Dan O'Driscoll's fight choreography was also effective." - Backstage

American Globe Theatre (AEA Showcase Code, NYC):

HAMLET (2000) -
"Director John Basil guided his exceptional ensemble with confidence and energy, and Dan O'Driscoll's complex fight choreography was executed to perfection by the beautifully trained cast." - OOBR (Off-Off-Broadway Review)

KING LEAR (1999) -
"Dan O'Driscoll's fight choreography was believable, especially during the final duel between Edmund and Edgar." - OOBR (Off-Off-Broadway Review)

"Those who love the exciting swordplay in films like Robin Hood, Scaramouche, and The Mask of Zorro, may wonder whether the essential fencing in The Globe's production measured up. Here's the good news: it was quite dazzling! (Fight Directors: Dan O'Driscoll/Robin Flanagan). At times, three or four groups were furiously fencing on stage at once." - OOBR (Off-Off-Broadway Review)

"The swordplay… is remarkably accomplished, presenting a stage filled with flashing foils." - Backstage

AS YOU LIKE IT (1998) -
The early fight scene between Orlando and Charles the wrestler (Robert Chaney) was gracefully choreographed by Dan O'Driscoll. - OOBR (Off-Off-Broadway Review)

The Looking Glass Theatre Company:(NYC)

THE INNOCENT MISTRESS (1997) - "The director filled the stage with farce, rap-slap greetings, stomping on toes, passionless pawing of breasts and genitals, and pows in the kissers. The production was especially adroit in staging some extraordinary fights and swordplay choreographed by Dan O'Driscoll." - OOBR (Off-Off-Broadway Review) - review is halfway down the page.

GABRIEL/GABRIELLE (1996) - "The highlight of the act was a swordfight staged by Dan O'Driscoll, a talented fight director who did a similarly fine job for Judith Shakespeare Company's recent production of Macbeth." - OOBR (Off-Off-Broadway Review)