In “Bite Me,” by the playwright Eliana Pipes, the reasons a studious girl can’t afford to slip up while her crush has the privilege to slack off hum beneath their budding friendship like the drone of a fluorescent blub …Pipes is also interested in how race, class and gender can play a role in determining who needs to hustle for the opportunities that others freely squander … Sometimes ridding closets of their ghosts is the only way to move forward.” - New York Times

“RAW. STARTLING. VIVID. Bite Me [is] a brutally honest two-hander about adolescence and its aftermath. Pipes carefully lays a snare that entangles her protagonists in a web of need and grievance from which there may be no escape. With acutely observant direction and deeply nuanced characterizations, Martínez and her actors don't miss a detail.” - Light & Sound America

“Engaging & Thought-provoking! … Pipes has written an excellent play; she draws the disparate socio-economic and racial lines between Nathan and Melody with a fine pen. The arc and landscape of their friendship and its ultimate struggle is carefully wrought and effective.” - Theater Scene

“Nothing can prepare you for this purposefully uncentered, unsettled social satire, which explores the meaning of everything from genealogy to gentrification, from virtue to video. This is the kind of play to see because you can’t imagine it without seeing it.” — Hartford Courant

”Audiences can look forward to a remarkable play that combines humor, sharp satire, and thoughtful investigations. All the elements combine to captivate the audience while giving us plenty to think about, during the play and long after. This production is not one to miss.” — Broadwayworld

“Pipes truly has a way of leading the audience to the deepest meaning without feeling like you’ve been hit over the head with socio-political connotations. Flitting in an out of reality and across the entirety of the playing space, “Dream Hou$e” is a well-oiled machine of energy and passion. Go see this play, Baltimore (and beyond). Revel in its joy, its humor, its sacrifice, and its art. See it, and reflect on how closely it hits home.” — MD Theatre Guide

“¡Sí Se Puede! also highlights farmworker leaders like Larry Itliong, who’d organized Filipino farmworkers for years before Huerta and Chavez . . . The language of the play — English, Spanish and Tagalog — and the production design reflect the culture of the farmworker movement, incorporating a style of skits performed for farmworkers from the backs of flatbed trucks.” — LAist

“The . . . show which opened three days after the disturbing sexual abuse allegations, the play de-centers Chávez and uplifts women’s voices in the movement, including the sexism they faced . . . “The purpose of the play has always been to move Dolores to the center of the narrative of the United Farm Workers movement where she always belonged,” said Pipes, who made small edits like taking out some of Chávez’s lines after the news broke. “It was never about César Chávez.”” — Boyle Heights Beat

“HOOPS” Is a Must-See...it shine[s]...lively songs,sketches, and dancing. ... It’s rare to find a show that delights, educates, and challenges so seamlessly but HOOPS pulls it off. The creativity shines through...catch it while it’s still here.” — Milwaukee Magazine

“...An opus of social commentary that other narratives of Culture have never really grappled with...women who have historically been represented on the periphery were celebrated ...allowed us to live in the quirk, theatrics, and intimate monologues of truths not heard enough. ...I resonated with the performance as a notation that I too exist within this nuance of Culture, a sisterhood that is passed on like DNA or inherited like a family heirloom.” — CopyWrite Magazine

“Rousing...triple threats who act, sing, and dance with precision. ...fast-paced, eye-filling...something for everyone. ...worthwhile viewing for theatergoers and those who have never set foot in a theater... It’s something fresh and new---just what a world premiere should be.” — Shepherd Express