Romeo and Juliet (Commonwealth Classic Theatre Company)
"Strong veteran actors play key roles [...] Griffin Stanton-Ameisen nails Mercutio’s “Queen Mab” speech and puckish behavior, yet also squares off dramatically with Christopher G. Anthony’s taciturn Tybalt" (broadstreetreview.com).
Peter and the Starcatcher (The Eagle Theatre)
"A principal company cast with standout performances by Eagle favorites Adam Hoyak ( Boy/Peter), Tim Rinehart (Black Stache) and Griffin Stanton-Amesien (Prentiss), Katrina Michaels (Molly)" (broadwayworld.com).
The Explorer's Club (Delaware Theatre Company)
"The Explorers Club is unapologetically entertaining with lots of silly gags, physical comedy and spot-on wordplay, all kept in balance by Martin's keen direction" (newsworks.com).
"DTC’s all-star cast of Philadelphia favorites embraces the nonsensical script and its dotty characters with all-out zaniness and obvious enjoyment. [...] Griffin Stanton-Ameisen makes scene-stealing appearances as an irate Irishman and the loony Beebe" (dcmetroarts.com).
The Nether (InterAct Theatre)
"The Nether, smoothly directed at InterAct by Seth Rozin, is a gripping 80 minutes that will give you a lot to think about" (phillymag.com).
"Griffin Stanton-Ameisen has the perfect light touch as a visitor to the Victorian world who realizes he’s in over his head" (dcmetroarts.com).
"Both the script and Seth Rozin's fine production are carefully measured" (broadstreetreview.com).
Love's Labour's Lost (Revolution Shakespeare)
"Revolution Shakespeare's lively, tuneful – and free – production of Shakespeare's early comedy brims with romance, enthusiasm, and cleverness [...] The cast is uniformly terrific – forgive me for not listing all their names! – a credit not only to their talents [...] Artistic Director Griffin Stanton-Ameisen and company make this joyous from start to finish, and promise to return next fall with another Shakespeare play, – for which we should all be grateful" (Philadelphia City Paper).
The (curious case of the) Watson Intelligence (Azuka Theatre)
"All the Watsons are played by Griffin Stanton-Ameisen who shifts among the styles and manners and costumes with remarkable charm and manages to absolutely distinguish each"..."the Azuka cast is extraordinary" (Philadelphia Inquirer).
"the excellent Griffin Stanton-Ameisen, who plays four Watsons, all of them well" (Newsworks).
"THE (CURIOUS CASE OF THE) WATSON INTELLIGENCE is a thoroughly entertaining, beautifully staged exploration of trust, love, relationships, entanglement, dependency and technology and intimacy"..."Griffin Stanton-Ameisen amazes in this role for his ability to swiftly transform into any one of the four the Watsons via changes in speech, mannerism and costume, yet always keeping consistent the sense of Watson’s eternal eagerness to be of assistance" (phindie.com).
"it is Griffin Stanton-Ameisen that steals the show with his takes on Watson: the emotionless computer eager to aid his human companion, the hippie-ish IT specialist turned spy, the intelligent but overshadowed sidekick to Sherlock, and the mere assistant to one of the greatest inventors of our time. Watson may only be seen as the support for bigger and greater people but Ameisen‘s keen portrayal of these characters is enthralling" (Geekadelphia).
Penelope (Inis Nua Theatre)
"Penelope is a tour de force for actors (in addition to those mentioned, the excellent cast includes John Morrison and Griffin Stanton-Ameisen)" (Philadelphia City Paper).
"I was extremely impressed with this cast [...] Griffin Stanton-Ameisen’s downtrodden and fed-up Burns made me tear up" (Geekadelphia).
"The best lines are reserved for the laconic Burns (“people carry around little pedestals of differing sizes and half-talk to each other and lie to themselves and other that they are part of a community”). Stanton-Ameison seizes this opportunity with a resounding coda that summarizes the plays themes: Despite its threats, love is saved" (phindie.com).
"Toward the end of Walsh’s piece, Griffin Stanton-Ameisen repeats Haas’s brand of triumph. His character, Burnss, appeals directly to Penelope, who stands yet above the pool surveying its inhabitants and the carnage they have wrought. Stanton-Ameisen launches into a speech as eloquent and moving as Haas’s. The actor hits all the right notes as he bares his heart and talks about friendship and losing friends and betrayal while talking about how pure he is in his affection, respect, and desire for Penelope" (Nealspaper.com).
Macbeth (Revolution Shakespeare)
"Macduff is Griffin Stanton-Ameisen, one of the leaders of Revolution Shakespeare, in a sound and well-considered performance" (Newsworks).
Hamlet (Delaware Shakespeare Festival)
"His Hamlet is a man unmade, not a churl or a brat or a depressive but a prince, bound by duty and law. Stanton-Ameisen roars and stumbles, rankles and retorts with remarks both snide and openly hostile. He walks on unsure feet, and director David Stradley retains the speech in which Hamlet vocalizes any audience's apt concern: "Am I a coward?" he bellows. 'Who calls me villain?' In his readings of the play's three famous monologues, Stanton-Ameisen touches deftly on themes of mortality to ask us how we would risk our too-brief lives to counter injustice [...] And where a great Hamlet plays to connoisseurs, this superb production plays to the play itself, capturing in 21/2 hours (I would have watched this cast perform all five) the essence of the tragedy" (Philadelphia Inquirer).
"Stanton-Ameisen essays one of the most challenging roles in the canon with visceral energy, elfin wit and verbal bravado. This Hamlet is not a thoughtful philosopher pondering his destiny; he's a confused young man facing a world controlled by power and lust that he cannot comprehend" (Delaware News Journal).
Gint (Egopo Classic Theatre)
"Griffin Stanton-Ameisen is terrific as Gint's town rival and later tormentor as the ruthless king of the pig people" (Huffington Post).
"What was revealed onstage was an astonishing fable, a surreal parable, a theatrical tour de force. Director Lane Savadove [...] has elicited remarkable performances from a fine cast [...]" (philly.com).
The Playdaters (Machbox Theatre Project)
"Bradley and Stanton-Ameisen are uproarious as they move in and out of their staged dates into directly addressing the audience and each other with the snap of their fingers and the ease of logging on and off of their digital devices, as they comment on their faux situations and analyze their own questionable attitudes" (phindie.com).
The Two Gentlemen of Verona (Delaware Shakespeare Festival)
"Director Samantha Bellomo and her sprightly cast at Delaware Shakespeare Festival prove their understanding in a Jazz Age production that excites in its excess of untempered passion balanced only by the laughter of youthful love's folly. [...] Del Shakes' production captivates on many levels. [...] Griffin Stanton-Ameisen's deft balance of humor and woe as Launce shows that, as in many of Shakespeare's plays, only the clown possesses true self-honesty" (philly.com).
"Among the other highlights of show are [...] the hilarious interplay of Launce and his frisky dog Crab. Stanton-Ameisen is an outstanding accomplice to the canine’s scene-stealing antics, completely debunking W.C. Fields’ well-known advice to actors: “Never work with children or animals.” He and Prince make a thoroughly engaging comedic team that will keep you howling throughout the show" (stage magazine).
"Griffin Stanton-Ameisen makes for a blithely funny Launce, but his true talent is not getting constantly upstaged by his cuter, shorter, and shaggier co-star" (playshakespeare.com).
The Life (& Death) of Harry Houdini (Egopo Classic Theatre)
"Griffin Stanton-Ameisen's Dash is a pitch-perfect performance, destroyed at the death of his parents or hiding behind his intensely suave backstage lothario bit" (Huffington Post).
"[...] his brother Dash (the ever-dashing Griffin Stanton-Ameisen), and his wife Bess (Lee Minora). [...] while the fine supporting cast takes on multiple roles and creates the look and feel of Vaudevillian entertainments and feigned supernatural occurrences [...]."
"EgoPo’s THE LIFE (AND DEATH) OF HARRY HOUDINI has a short run, with performances only through April 7, so be sure to catch this fascinating original before it disappears" (Stage Magazine).
An Infinite Ache (Theatre Horizon)
"In Bi Jean Ngo and Griffin Stanton-Ameisen’s sincere and incisive performances at Theatre Horizon, however, the familiar relationship ups and downs become an extraordinary adventure [...]" (City Paper).
"The actors do a fine job of distinguishing between the two incompatible personalities. Stanton-Ameisen’s Charles is “eager” but neurotic, boyishly charming and desperately likeable [...]" (Stage Magazine).
"Ngo and Stanton-Ameisen are superb in the differentiations they use to show the elapsing of time and their maturing personalities [...]" (Broad Street Review).
70 Scenes of Halloween (Luna Theatre)
"Seventy scenes. Three hundred lighting cues. Ninety minutes. Four terrific actors [...] Stanton-Ameisen is a great beast [...]" (Philadelphia Inquirer).
"Halloween conjures scary images of ferocious beasts, evil witches and — troubled marriages? All three, in Jeffrey M. Jones’ 1980 playSeventy Scenes of Halloween, given a superb revival by the Luna Theater Company [...] Beast (Griffin Stanton-Ameisen) and Witch (Angela Smith) [...] provide wonderfully creepy voices for their scary characters [...] but are even more chilling when parodying Jeff and Joan’s suburban hell" (City Paper).
"The play’s rapid-fire non-sequitur structure is complex and demanding for the actors, but the excellent ensemble keeps up with Oster’s fast-paced direction, numerous stage cues, and quick costume changes [...] Griffin Stanton-Ameisen and Angela Smith are superb as the haunting spirits, whose voices and demeanors are hilariously macabre and menacing" (stage magazine).