PRESS

*Ghost of John McCain: Spirited Journey Inside Trump’s Head*

“The musical satire about the late senator will have liberals dying of laughter…Given all the high speed comings and goings of the actors constantly switching roles, the production requires a traffic cop as much as a director. Catie Davis fills both jobs admirably.” - *Roma Torre*

*Ghost of John McCain*

“The creators have done their homework…the script seems on steroids under the brisk direction of Catie Davis, as Trump imagines himself the star of a musical inside his head, where all the characters live and annoy him…for anyone terrorized by America’s current political climate, it offers an opportunity for laughter that’s not an option in the real world.” – *Edward Karam*

“The show, with a book by Scott Elmegreen, score by Drew Fornarola and direction by Catie Davis, has a clever conceit. The performers—most playing multiple characters—marshal the variable material with élan…the musical ends with its lights up on us, the audience—and one final clever twist, which puts all of the present-day responsibility back on us.” - *Tim Teeman*

*Ghost of John McCain’ Is for Those in Need of Some Fictional Relief in These Days of Fraught Politics*

“In this particular election year, anyone trying to craft political fiction that’s stranger than truth faces a difficult task. Yet the creative team behind “Ghost of John McCain” has pulled it off…Four of the six cast members, in fact, juggle multiple roles deftly under Catie Davis’s brisk direction…with its relatively light tone and giddy buffoonery, this show is more of a confection than a sermon.” - *Elysa Gardner*

Ghost of John McCain

“If you imagine a cross between the cold openings of "Saturday Night Live" and the broad impersonations of *Forbidden Broadway*, you'll have a sense of the whimsy behind *Ghost of John McCain…*Under Catie Davis's snappy direction and performing Sunny Min-Sook Hitt's energetic choreography, the hardworking cast is very appealing.” - *James Wilson*

*‘Ghost Of John McCain’ Off Broadway Review: Living Rent Free In The Mind Of A Not-So-Stable-Genius*

*“Ghost of John McCain* ultimately comes off as a nicely performed…90- minute *SNL* cold open set…Best, though, is a revelation at the end that gives new purpose both to the story and its characters. Not one of them, except the Karen, will be leaving this hellscape anytime soon, but that’s not necessarily a bad thing. As another play featuring Roy Cohn once put it, the great work begins.” - *Greg Evans*

*Surreal trip into Trump’s brain in the new musical comedy ‘Ghost of John McCain’ at Off-Broadway’s SoHo Playhouse*

“Will he ever get out of Trump’s head? Is musical theater the answer? While *Ghost of John McCain* delivers sardonic laughs, it also drives home the serious message to get out and vote in November if you care about the future of our country, so see it and do it.” *- Deb Miller*

“Conceived by Jay Kuo, Lorenzo Thione and Davis, produced by special arrangement with Sing Out, Louise! Productions, and fluidly directed by Catie Davis, “Indigo” tells a refreshing, multigenerational tale of a bruised, broken yet resilient family on the path of reconciliation.” – Russell Florence Jr., Dayton.com

***5 takeaways from Human Race Theatre’s must-see ‘Indigo’ world premiere***

“The production at Human Race is directed by Catie Davis, who supplies organic blocking and realistic relationships. The transitions to and from the few scenes that take place outside the house are handled smoothly, and the tone of the piece is respectful to the material and themes.” *– Scott Cait*

“With bold creative choices and skillful stage direction, Director Catie Davis evokes the energy and intensity of an Olympic gymnastics competition, deftly shifting the focus between characters. She finds the balance that the show needs to be effective and to keep it an ensemble piece.” - Bridgette M. Redman, Arts Advocate & Journalist

‘The Magnificent Seven’ at Flint Rep is a medal-worthy musical storytelling of the legendary 1996 Olympic gymnastics team

“The right idea for a new musical is about half the battle for it to be a commercial success. The other half, of course, is getting the writing and music right. In the case of The Flint Repertory Theatre’s world premiere of The Magnificent Seven, the production team has gotten this work about the 1996 Olympic Gymnastics team very right.” – David Kiley

*World Premiere - “The Magnificent Seven” Opens at REP*

“…this stunning production captures the story of the 1996 U.S. World Gymnastics Team as they compete for Olympic Gold on the world stage. It is intriguing, entertaining, and most of all a deep dive into the pressure and pleasure of world competition, all set to music…Wonderfully directed by Catie Davis and choreographed by Duane Lee Holland Jr., the play moves smoothly and with rhythmic synchrony.” – Kathleen Kirby

*EMPATH*

"Sauvage is a charismatic man and he definitely has a gift for writing, speaking and healing… The direction by Catie Davis was well done as well as the fabulous lighting and sound design is by Broadway’s Jake DeGroot.” – Suzanna Bowling

*EMPATH*

“Open about his own anxieties and perpetual self‑doubt, Mr. Sauvage becomes surprisingly vulnerable for a spiritual guide. He is personable and endearingly relatable throughout, and his humor and warmth bring levity to the more intimidating aspects of his declared powers. “Empath” feels less about psychic powers than about the man who purports to live with them. It is an incredible yet charming story of self‑discovery.” – James Bartholomew

***EMPATH AT THEATRE LAB WILL LEAVE YOU WANTING TO KNOW MORE***

“Thoughtful and insightful... It will keep you curious and interested. Sauvage is quite a person. He has an excellent sense of humor, is beautifully sensitive and has a winning inquisitiveness and honestly seeks truth.” - Isa Freeling

*EMPATH*

“At first glance, *Empath*’s existence as a theatrical show may seem contrived or puzzling, casting understated personal narrative against a field of cultural skepticism. Yet if we strip down “theatre” to the shared act of distilling, embodying, and observing the human condition, and achieving connection through such means, this very guilelessness makes *Empath* theatre in its purest form. Belief systems notwithstanding, the show’s message is universal: while our feelings may seem difficult, oppressive, or inexplicable, we have the right to each one of them and to choose how we approach them. In a tense and disconnected world, this acknowledgement is profound, as much a reassurance as an affirmation of our power.” – Emily Cordes