Tommy Malek

For Spring Awakening at Maryland Theatre Collective:

"[Malek's] approach to blocking and choreographing Spring Awakening can be likened to a 3D-cinematic experience. You’re watching this show, fully enrapt and completely absorbed— especially if you occupy a seat in the front embankment— and the actors are flying all but inches into your face without ever breaking out of their world. It’s intense and emotionally amplifying. There are multiple moments throughout the performance where certain lines are delivered or sung right at you, with a performer mere feet back staring into your soul and it’s unsettling in the way that only live, intimate theatre can be. Malek’s choreography is high-octane intensity whenever the cast of 13 are in motion. Working a proper balancing act between rhythmic execution, which includes the chairs as a part of their dancing, and free-style emotional catharsis of the body, Malek drives home the overall pathos of the show in his dance work and really amps up the intensity and frenetic edginess of the production with these moments of choreography. 

 

Malek’s execution of the show is extraordinary. The libretto and music speak for themselves— no need to modernize it, shift it to America, or be unhinged with layered innovations— Malek just focuses on the emotional journey and the experience is a rewarding, albeit emotionally exhausting, one. I’ve personally covered productions of Spring Awakening over the years— equity houses, community and collegiate, a touring company— and cannot recall a time where so many of the numbers left me so gutted that I was shaking in my seat crying heavy tears. Malek’s production brings that visceral, emotional response because the actors— in addition to their vocal talents— are so intently focused on the emotional path of this story and serving it with such unadulterated realness right to your face." -Amanda N. Gunther

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For Spelling Bee at Compass Rose Theater:

“The 25th Annual Putnam County Spelling Bee” now playing at Compass Rose Theater is a delightful and moving production. This 2005 Tony Award-winning musical (written by Rachel Sheinkin, music and lyrics by William Finn, additional material by Jay Reiss, and conceived by Rebecca Feldman) is hilarious, controlled chaos under Tommy Malek’s tight direction and choreography. [...] The play is beautifully cast. [...] Behind the humor we feel the love and humanity of the struggles on stage. These six quirky and geeky middle school students under the lights are, for the duration of the spelling bee season, absolute winners." -Sue Tilberry

 

" Director & Choreographer Tommy Malek and Musical Director Rachel Sandler are the epitome of the dream-team when it comes to their creative endeavors in musical theatre. D-R-E-A-M-T-E-A-M. Malek and Sandler, a household staple of musical theatre in the DMV set the bar high when it comes to quality productions and the Compass Rose Theater production of Spelling Bee falls in line with their extraordinary visions. [...] The character work overseen by Malek is superior. And every moment in this production is lively. You get the sense that Malek is laser-focused on finding those extra-funny moments to really entice the audience and tickle their funny-bone without turning it into an outrageous, slapstick farce. It’s a beautiful balance. And Malek’s choreography is perfect for the space. His approach to carefully utilizing the limited stage space is the mark of an excellently seasoned director— not too much dancing, not too little, just right in all of the exacting places and perfectly aligned for the spatial limitations of the production. Malek’s overall blocking and pacing of the show are flawless and it’s just a splendid, good time all around. And there’s a kick-line!" -Amanda N. Gunther

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For Agnes of God at Maryland Theatre Collective:

"Director Tommy Malek, known for his penchant for directing rousing musicals, has put together a masterpiece of drama showcased in a “in-the-round” theatre space (actually, there are seats on only three sides, but the audience is intimately close to the action).  Having only three actors on stage demands expert casting, and Malek does not disappoint.  He could not have chosen better when casting this show and added some of his personal tweaks (Malek likes on screen projections) which perfectly accent and further the plot line. [...]  Don’t walk, run to buy your tickets, and experience this masterpiece." -Leonard Taube

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For Young Frankenstein at Silhouette Stages:

"It is obvious early on that Malek has a thorough grasp on not only his original source material, but on how to adapt in into another medium theatrically. The performers are great and game for his hijinks, but for the gullible audience member who thinks that good actors jump on the stage and just bring the performance you see, know full well every performer in this show owes at least half of their success to Malek’s masterful hand; saluting physical comedy, vaudevillian shtick, clowning double takes, over the top excess, and the power of the perfect comic pause. He pays ultimate tribute to the style and influence of Brooks at his best, but without imitating. Rather he filters his Brooks-ian homage through a cast of well-tuned instruments and, like the titular Dr. Frankenstein, bestows new energy and life into this potential monster of a show [...] amidst all praise, let it be reiterated that despite all the stellar talent gracing the stage, the true star of this show is director Malek. He approaches this piece with the necessary reverence for his source, instills it with a clear vision, and collaborates with talented and willing actors who are game to trust him in coordinating their performances into a successful and loving tribute to one of the most iconic comedies ever filmed." -Mark Briner