Filmmaker                                          Theatre Director                                 Playwright

Pearl Was Here


Pearl Was Here is a tonal adventure. For much of the film, Pearl’s actions and eventual plight are cute and humorous; at a certain point, however, a darker cloud starts to set in and there’s an ominous tension that develops, finally climaxing in a fashion that is as shocking to the characters in the film as it was to me watching. And it works, sticking with you long after the film has ended. Those final moments make you re-think much of what came before, and the film becomes more layered and open to interpretation. What was Pearl’s true motivation, both for climbing into the booth, and not wanting to come out? Or is it just a case of a kid being a kid, not thinking of the consequences? The answers are debatable, and that’s what makes the short so powerful.

Film Threat: Mark Bell


A very sweet, and then frightfully brutal take on child/parent relations.

Twitch: Ben Umstead


Miana Abramson’s performance as Pearl is more than enough reason to watch this nine-minute short film. It is nothing short of amazing. Abramson is so perfectly cast in this part — there is absolutely no denying that she must have at least a little bit of Pearl inside her. No child actor can be that good, can they?

Smells Like Screen Spirit: Don Simpson


The acting from Abramson is truly stellar and makes this film what it is. The straightforward approach, with great attention to every little detail, from director Kate Marks will also strike a chord for any parent who has experienced the struggles of raising a child, and how every parent handles certain situations differently.

Slug Magazine: Jory Carroll


7 Day Gig

So in the end, is death funny? Well, we all process the aftermath of death differently, and we’re all children of cultures that have struggled with the question of how to honor the dead for eons, but the message of this wonderfully moving short is this – while we might all be strangers from the Internet to each other, we all understand the loss of death, even when we can’t explain it. And there’s something strangely wonderful about that.

Black Public Media: Nonso Christian Ugbode




Here are 10 of my favourite short films from the Edinburgh International Film Festival...

...A 12 year old boy, whose father is ill and who helps his uncle sells vacuum cleaners, hears about a Miracle Maker, and sets off to find some help. Another brilliant young actor called Jovan Armand taking the lead in this one (bit of a theme this year), with a charming supporting cast of characters. The visual style and tone of the piece are great, and it’s very touching. Will be interesting to see what writer/director Kate Marks does next.

See Short Films: Laura Anderson








The Fall


Mr. Nowell and his superb director, Kate Marks, manage a tone that teeters effectively between the tragic and the hilarious, until by the end, you are left powerfully, and unexpectedly shaken…

The New York Times: Honor Moore


Elegantly directed…Marks choreographs her actors with great artistry.

Cool New York: Caraid O’Brien


The Fall is beautifully staged by director Kate Marks whose vision for the production is theatrical.

High Drama: Christopher Farr



When watching this new adaptation by writer and director Kate Marks, you'll be surprised to find yourself laughing. In Odyssey, produced by the Looking Glass Theater, she tackles the classic with a modern eye, a colloquial tongue, and a comic touch… Marks's blocking for depicting the sea is simply breathtaking. Clad in whirling blue skirts and tight tank tops, the actors craft several raging storms. Their most delightful creation is the tide arriving on Calypso's shore. Rushing downstage in two rows, the first line of actors drops lightly into the arms of those behind, leaving a billowing blue skirt and a slight breeze in their wake. Repeated several times, the dance is a beautifully sensual device to show the passage of time.

Off-off online Pick of the week, Samantha O’Brian



by Hana Roth Seavey

Although the staging is intimate, much about this show is big: really big…Kate Marks the director has given Jack! lots of circus flash, with inventive masks and rollicking choreography..ingenius”

The New York Times: Laurel Graeber



Nothing Of Origins

By Devon Berkshire, Tella Storey, Ashley Salmon-Wander, Laura Roemer, and Jackie Kristel

Director Kate Marks has given the play a visually rich production.

American Theatre Web: Andy Propst




Bumping Umbrellas

By Kymberly Harris-Riggs

Kate Marks staged and choreographed the play for maximum effect, playing up the humorous moments to balance the sexual sequences. Together these women have created a unique vision of how one indiscretion can change the course of many lives. Elias Stimac



Bird House


There are some evenings at the theatre that just make being a critic worthwhile...a breath of fresh air...Writer Kate Marks has accomplished what other writers only dream about. Ashley Griffin


A charming fairy tale...Marks' text has a whimsical poetry to it. Will Fulton


Lewis Carroll did it with Alice in Wonderland ... L. Frank Baum did it with The Wizard of Oz: gave us stories of fantastical worlds where innocent girls stumble backwards into their watershed moment and grow up from the inside out.  Now, playwright Kate Marks brings us another place of fantasy where not one but two girls on opposite sides of the same world struggle with the same journey.  This is Bird House...Ms. Marks has created a tiny world with its own rules, flavors, tragedies, triumphs, heartbreak and tenderness. Karen Tortora-Lee


Marks' script is enthralling. The way she arranges her words and creates these characters is meticulously stylized. She writes in an almost poetic way, where the words themselves are important, not just what is being said. And the world she's created is something unique in and of itself; although little is ever explicitly defined and the audience must interpret the play in their own way, the stylistic vocabulary is undeniably marvelous. Molly Marinik


Bird House is full of stunning imagery. Amy Freeman


Kate Marks has written a dream of a world so consistent in tone that even though axes fly through the wind and cuckoo birds burst out of people's mouths, she sustains our interest. Likewise, Heidi Handelsman has conjured this fantasy so fully that even though we see the puppeteers through the life-size windows of this hand-crafted bird house (Sara C. Walsh's set), we remain raptly dreaming. It's impossible to dismiss Bird House, and yet equally hard to accept. Aaron Riccio


Kate's script is a dreamscape masterpiece, with a bubbly surprise twist to every line leading up to a grim and satisfying darkening end. Johnna Adams


I-95 South

I-95 South is a playful piece of writing that is graced with humor and the freshness of word games that transform reality into a magical landscape. Traversing the form of the road play, this is a dazzling script of a most original texture. Her main character, Cell crosses the boundaries of cross-dressing into a world where time is measured in the rhythms of Elvis Presley music and the big dream is to personify the King. This play offers the fantastic wounded reality of a young girl coming of age, along with a flamboyant depiction of pop culture and domestic dysfunction.

Pulizer Prize Winning Playwright: Nilo Cruz






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