Confessions of a Cha Cha Feminist by Maria Elena Fernandez at Highways Performance Space

“The performance benefits from swift direction by Armando Molina and Fernandez, with speedy scene transitions facilitated by Cris Capp’s efficient lighting design.”

LA Weekly – Los Angeles

Sandra Ross


Living Out by Lisa Loomer at Mixed Blood

“Molina’s stage craft is as clever as it comes. Sometimes, both couples are on stage at he same time and transitions between scenes are a fluid combination of playwriting finesse and Molina’s creativity. As Ana sings a lullaby to her child, background music shifts from Latin to Western, the lights fade on Ana and come up on Nancy, singing to her daughter. In a particularly fine transition, Ana’s husband  Bobby sits on the couch, remote control-in-hand, turns off the TV and hands off the remote to Richard, nancy’s husband, and to the next scene in the west side home.  Molina’s direction is so graceful that it was virtually invisible, as I followed the back-and-forth action.”

Elizabeth Weir

Talking Broadway – Minneapolis


Living Out by Lisa Loomer at Mixed Blood

“All this is fluidly orchestrated by director Armando Molina. He articulates a definite and controlling vision for his work, yet his presence is invisible.  His actors never overreach, and he gracefully navigates Loomer’s  sometimes-complex staging blueprint.

This is a touching, human story told with elegance and affection.”

Star tribune – Minneapolis

Graydon Royce


Living Out by Lisa Loomer at TheaterWorks

“Director Armando Molina heightens the tension by dancing a fine line between comedy and tragedy as Ana goes to work for Nancy and both women’s lives take a turn.  The ensemble etches all the characters, even the minor ones, with such care that the production seems like a microcosm of society.”

San Jose Mercury News.

Karen D’Souza


Living Out by Lisa Loomer at Theaterworks

“Molina plays to the parallels by using a single kitchen set for Nancy and Ana’s homes – subtly distinguished by sliding window units in Eric Sinkkonens’s  ingenious design – and creating swift, smooth segues.”

San Francisco Chronicle

Robert Hurwitt


The Waiting Room by Lisa Loomer at Company of Angels

“Armando Molina directs a solid yet spirited revival of Lisa Loomer’s  time travel seriocomedy about a trio of women and what ails them…The sudden but fluid set changes to the kaleidoscope feel Loomer intended.”

LA Weekly – Los Angeles

Erin Aubry  Kaplan


Anna in the Tropics by Nilo Cruz at PCPA Theaterfest

“With its poetic imagery, intense romantic longing, and bursts of soul-shattering brutality, Nilo Cruz’s 2003 Pulitzer Prize-winning play, Anna in the Tropics, is reminiscent of the work of Tennessee Williams. The mixed reviews that have greeted many productions suggest that its mix of melancholy, melodrama, and melodic language isn’t easy to pull off. But when the elements come together, as they do quite marvelously in PCPA Theaterfest’s production, the wisdom of the Pulitzer judges becomes clear. The playwright’s skillful interweaving of internal and external conflicts makes for a rich, multilayered work that is also refreshingly direct — and, in the hands of director Armando Molina, enticingly sensuous.”


Tom Jacobs


Sissy by Ricardo Bracho at Company of Angels

“Director Armando Molina’s inventiveness in having props also play multiple roles (a bunk bed doubles as a city bus, a clothesline demarcates city borders) folds neatly into the play’s thesis that multiple identities are housed in every person or thing.”

LA Weekly – Los Angeles

Ernest Hardy


Bordering on Love by Evangeline Ordaz at Company of Angels

“Director Armando Molina makes impressively fluid use of the trapezoid units and wardrobe racks of Jessica Wiebel’s scenic design, aided by Cricket S. Myers’ eclectic sound plot, Isabelle Ortega’s costumes, and Don Allen’s campy choreography.”

Los Angeles Times

David C. Nichols



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