“In one scene conceived by the playwright Eric Sanders, a doctor inside a room of mirrors explains the story of a 19th-century psychologist, who, after writing a paper on fear, learned that the most frightening thing in the world was confronting yourself. He then went mad, we are told, building this space where he could confront his phobia. Besides being well executed, the following “boo,” which involves the mirrors, works on old anxieties, tweaked just enough to make something new.”
- Jason Zinoman, The New York Times, on Mirrors

“[A] fierce and beautiful production… epic displays of stage combat… each fight is filled with humor and story, a crude language that speaks of an elevated attention to the animal-like ferocity inside us all… Last Life is an exciting play that gives us the candy we crave, paired with a truly skilled theatrical artifice. It plunges deeply in to the grotesque, into unrelenting violence and gore that churns the stomach, both physically and through the language it employs… Last Life also poses a delightfully thoughtful response to art-making in our multi-media saturated age: commenting on pop culture while using the most satisfying elements of the genre, yet still successfully distancing itself and reaffirming theatre’s validity as a cultural entity of its own.”
- Rachel Cole, InDigest Magazine, on Last Life

“The self-proclaimed ‘fightsical’ Last Life (which premieres as part of the Brick Theater’s current Fight Fest series) is a violent, post-apocalyptic tale of the quest for revenge following a cataclysmic loss. Co-created by director Timothy Haskell and playwright Eric Sanders, this collaborative effort plays intriguingly with form and structure and offers numerous visceral thrills…”
- Pete Boisvery,, on Last Life

Last Life is unlike any show I’ve ever seen… You’ll never see theatre combat the same again… Make sure to get to one of the last 2 performances of this outrageous, strange, wonderful show!”
- Karen Tortora-Lee, The Happiest Medium, on Last Life

Last Life is structured around the maxim that ‘One man’s terrorist is another man’s freedom fighter’… The best part about the script was the dialogue, which is very earthy and gritty. Some of it may be deemed offensive, and it (and the entire play, for that matter) isdefinitely not for the faint of heart. Writer Eric Sanders brings an almost movie-like quality to the script, making the words fluid and salty with his ‘Tarantino like’ comedic words.”
- Douglas Ferguson, Kung Fu Magazine, on Last Life

“A superb adaptation… the aura of fear and anxiety is palpable, and a tale of horror is expertly spun.”
- Hi Drama, on The Wendigo

“[The Wendigo] has atmosphere in spades. It is positively dripping in it, starting the moment you walk into the theater… Thankfully Vagabond delivers on their promise masterfully… There was more than one moment of nearly jumping out of one’s seat… a fitting tribute to one of the masters of modern horror…  At the very least, it should inspire you to double-check your doors and leave a light on.”
- Toby Thelin, OffOffOnline, on The Wendigo

“With The Wendigo, it is clear that playwright Eric Sanders, director Matthew Hancock, and their design team are determined to remind us of what scary stories can be and do… Sanders has provided an admirably straightforward approach that preserves the tone of his source material… An engaging, enjoyably spooky exercise in adaptation…”
- Frank Episale, OffOffOff, on The Wendigo

“I was so grateful to see The Vagabond Theatre Ensemble’s production of The Wendigo… [It] doesn’t let go until well after the play is over… An effective production that deserves an audience, if only to remind us that fright doesn’t have to be dependent on extreme visuals or lots of screaming. Sometimes, horror can be experienced from the inside out. This play proves that the best horror comes from your own mind.”
- Theresa Jusino, Pink Raygun, on The Wendigo

“Spooky… streamlined… the production is constantly elevated by the careful culling of Blackwood’s original descriptions.”
- Aaron Riccio, That Sounds Cool, on The Wendigo

“One of the best staged genre productions of the year, Eric Sanders’s adaption of Algernon Blackwood’s The Wendigo was a cool little production for those who enjoy a good supernatural yarn, but prefer the suggestive to the graphic.”
J.B. Spins, on The Wendigo

“A tale of existential dread and supernatural menace… The Wendigo is almost like a rediscovered script rather than most current attempts to place a frightening story onstage. There is no framing device or winking irony, no postmodern deconstruction of the source material. It is a campfire tale of a play, driven by language and mood.”
The Ephemerist, on The Wendigo

“Tense… The surroundings create a terrifying atmosphere, while the content intermixes fear and contemplation with confusion and humor.”
- Washington Square News, on The Wendigo

“Sanders keeps the style of his source material and the language he employs in the mouths of these capable actors is never less than fascinating.”
- Robert Weinstein,, on The Wendigo

“You know that friend that liked X-Files a lot? This is his show…. [its] images will creep you out well into the night… you’ll still probably need a buddy there to take the edge off.”
Theatre is Easy, on The Wendigo

“The story’s power lies in its evocation of mysterious primeval forces that may yet lurk in the depths of the forest in spite of human civilization… an able, creative crew handles all these elements with gusto…”
- Jon Sobel, Blogcritics, on The Wendigo

“Eerie… suspense-filled… startling… terror-filled, tense… The actors were believable, and their performances truly captured the unknown terror of the wilderness…”
- Gina Osnovich, Brooklyn Daily Eagle, on The Wendigo

The Wendigo does an impressive job with creating an unsettling mood. The sparse set, effective lighting, and nerve-jangling music do a terrific job with establishing a very tense atmosphere around this tale… It effectively conjures a real feeling of dread and unease…It will creep you out enough to make you think twice about camping in the woods alone.”
- Matt Schwartz, Suvudu, on The Wendigo

“[The Wendigo] does an excellent job of staying in that gray area where reality and nightmare mix… It is genuinely unsettling… All the elements serve to put the audience in a vague state of unsease… moody, and disturbing.”
- Byrne Harrison, Theater Online, on The Wendigo

“This play was amazing… A true ensemble piece – beginning with Algernon Blackwood’s stunning tale of horror written in 1910, continuing on with Eric Sanders’ compelling adaptation… The story literally enshrouds you before one word is even spoken… When the lights come up you can’t quite shake the feeling that something awful is lurking…”
- Karen Tortora-Lee, The Happiest Medium, on The Wendigo


J.B. Spins: The Best of 2009 On-Stage for The Wendigo
Three 2007 NYIT Award Nominations for fuckplays


The Brooklyn Paper article about Original Innocence
The Happiest Medium interview about Original Innocence
The Happiest Medium interview about The Symposium on Creation Mythology
New York Metro feature on The Wendigo
Fangoria article about The Wendigo
Pink Raygun interview about The Wendigo
Broadway Bullet podcast interview about The Wendigo
The Happiest Medium interview about The Wendigo
Minneapolis City Pages article about Dewey’s Nightmare
Monsters and Critics feature on fuckplays opening night photos from the Dread Awakening party
Page Six item on Dread Awakening
Talkin’ Broadway interview about Dread Awakening