• reWilding is open and runs through March 17th. Buy tickets here. Seriously, buy them now; seating is limited.

    The Stranger:
    “Directed by Caitlin Sullivan, reWilding’s scenes are like shards thrown on the ground, creating more of a mood than a story. The strategy is entirely effective, and more satisfying than many traditional plays.”

    “With 14 performers, an indoor set, and lots of dim, nighttime scenes—for this project, Marnie Cumings is less a lighting designer than a designer of shadows—Satori has created a creepy, immersive experience.”

    Seattle Weekly:
    “A mesmerizing, elliptical presentation of a world that seems to exist simultaneously as a real place and in a parallel universe. reWilding succeeds in taking you someplace special and introducing a magical array of characters. It’s inconclusive, perhaps willfully so, but what an amazing trip.”

    “The scenic design (by Clare Strasser and Montana Tippett) combines with Marnie Cumings’ lights and a total-immersion soundscape by Keith White (of This Bitch Don’t Fall Off) to abduct viewers from a play in downtown Seattle to a place where social mores are tipped sideways, relationships are fluid, trust lasts only from one small agreement to the next, and anything could happen.”

    “Majok’s world seduces because she won’t let imagination drag her text too far from what’s possible. The result is a twilight realm far creepier than anything you’d find in Stephenie Meyer’s fictive Forks or David Lynch’s Twin Peaks.”

    Seattle Times:
    “Even before the new theater piece “reWilding” begins, you know you’re in for something extraordinary.”

    “The Satori Group conjures this habitat fully, in an ambience redolent with dramatic mystery and possibility. And the committed actors give us fleeting but deep glimpses of the longings and losses that have brought characters to this outpost — and continue to plague them, allowing them no peace.”

    “Though the script could be fortified, “reWilding” is now a remarkable experience — and a haunting one, in a time of much alienation and rootlessness in our land. It promises more good things from the inventive Satori Group, as they settle into their new digs.”

    “The piece is a one-of-kind marvel in the way it plunges you into a rustic backwoods encampment that’s vividly evoked, and into a strange, spooky state of mind suffused with ghostly fears and American folk music.”

    The SunBreak:
    “Director Caitlin Sullivan and her ensemble create a nearly seamless integration of music, dance, set, and text that draws the audience in.”

    “The intimacy of the staging cannot be overstated. The largely outstanding cast allows the audience in like silent members of the commune. We are even fed bread and lentil soup (beware of the bay leaves) and there is an open cooler of beer at intermission. Were Satori to get the audience singing the production would be downright religious. For all the tension of the play the music and food balance the apprehension with comfort. That balance proves most satisfying.”