Reviews for Urinetown:

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“Director Trey Compton gets it, and how. There is just enough exaggeration, just enough self-awareness and tongue in cheek in Compton’s production but never more than that. Compton nudges boundaries without crossing them...“Compton’s cast more than rises to the material’s occasion and Compton’s approach. The performances throughout are robust, full out.”

-Jeff Borak, The Berkshire Eagle

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"Directing for the first time at the Mac, Trey Compton hits this production all the way out of Urinetown...wherever, or whatever, that may be. He offers up a tight, taut, and razor-sharp show, and seems to have a natural, instinctive knack for making the best use of the Mac's performance space, virtually writing a textbook on how to make the most effective use of the larger, reconfigured space unveiled last season. He puts the cast through their considerable paces with precision and flair, extracting their best efforts through every layer of this show...Director Trey Compton and the Mac-Haydn Theatre should be "flush" with pride."

-Lisa Jarisch, Berkshire Onstage

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Reviews for Once:

“Northport's stunning John W. Engeman Theatre never disappoints. This especially with their latest offering of the eight-time Tony winning musical Once. The absolutely exquisite incarnation, running through March 4th, is outstandingly directed by Trey Compton and boasts an incredibly gifted and beautiful cast."

- Melissa Giordano, Broadwayworld

 

Reviews for RED:

“The audience is on either side of the studio and I like how director Trey Compton has his actors move. He also does a great job with his actors, helping them meld into the material and bringing out the rich humor and ideas of the play." 

-Jane Holahan, Lancaster Online

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Reviews for Annie:

“Director/choreographer Trey Compton has created a smartly-paced and wonderfully hopeful production that mixes the right parts laughter, big-musical production numbers, and teary-eyed emotion."

-Jeff Ashcraft, River Cities' Reader

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"With assured direction and entertaining choreography by Trey Compton, the perfectly cast production emphasizes the true values of family, honesty, hope, optimism and togetherness."

-Jonathan Turner, The Dispatch

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Reviews for The Great American Trailer Park Musical:

“SRT’s production of this off-Broadway musical is a joy to behold by simultaneously delighting in the silly and the sentimental, the sleazy and the sanguine. Whether scrubbing dirty floors or doing a striptease at the Litterbox Show Palace, director/choreographer Trey Compton has masterfully used the talented cast to produce a surprisingly physical comedy extravaganza. Quite simply, this is one of the best local comedies you will see this year."

-Ryan Campbell, The Union Democrat

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"The production [is] first-rate — a polished and hilarious joy from start to finish. Trey Compton’s whip-smart direction keeps the laughs barreling along, from the silly back stories of our three narrators to the show’s surprisingly affecting love-triangle narrative arc."

-The Munro Review

 

Reviews for Godspell:

"The production at the Theater Barn in New Lebanon, NY is a revision done by Schwartz in 2011 for a Broadway revival and it is a marked improvement on the original show. So much so, that I found myself enjoying it as I never had before. Part of that is due to the staging by Trey Compton which is richly deserving of praise and the cast of players who are beautiful to view, beautiful to listen to and overwhelmingly beautiful in every conceivable way. Likewise, the dancing choreographed [by Compton] brought so much ecstatic freedom to the company that it never seemed planned at all, but only sweetly interlocking figures for cast members to use to show off their abilities. Compton, in his direction, gives us moments that touch the heart and a few that just make us sit up straight and take notice."

- J. Peter Bergman, Berkshire Bright Focus

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"[Compton's] handling of the groups in this group-heavy show is full of variety and attractive togetherness. As for quality, with very little tweaking, these actors, this band, this director/choreographer—well, the entire production could easily relocate to West Forty-Fifth Street."

-Marion Hunter, The Columbia Paper

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"Director and choreographer Trey Compton has assembled the perfect cast for this show – ten remarkably talented young men and women – who he has formed into a cohesive team. Each actor plays at least one instrument over the course of the show, after the a cappella prologue “Tower of Babble” because, in Compton’s words: Jesus physically brings the music with him, transmitting his message of love and acceptance through music."

-Gail M. Burns, Berkshire On Stage

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Reviews for I Love a Piano:

“Trey Compton's direction is perfection. There is not a thing, not a moment in this show that I would wish to be changed. The hour and forty-seven minutes literally flew by and the shorter second act showed so much improvement in all of the players that it absolutely felt far too short.”

- J. Peter Bergman, Berkshire Bright Focus

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Reviews for Sister Act:

"A huge measure of the show’s success is obviously attributable to Trey Compton, who not only directs but choreographs this divine musical comedy."

-Jack Felix, Sun-Gazette

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-Reviews for Forever Plaid:

“Trey Compton has directed this musical play with sensitivity and a sense of humor. It is impossible not be caught up in the very real and very silly premise of the show and that is a tribute to everyone involved. Compton's work here is very important in keeping the right tone going all the time.”

- J. Peter Bergman, Berkshire Bright Focus

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"I have seen Good Plaids and Bad Plaids. And I am happy to report that the cast director Trey Compton has assembled for the current production at The Theater Barn are Excellent Plaids. More to the point, they are Different Plaids. When you see a show over and over there gets to be a certain sameness to it, especially here where the choreography is iconic wiith character-establishing gags built in, and therefore can’t be tampered with too much. Compton [has] opened up new aspects to the characters that changed the depth and feel of the show without ruining the fun."

-Gail M. Burns, Berkshire On Stage

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Reviews for West Side Story:

"As the musical’s mostly wordless prologue continues, the dancers portraying the Sharks and the Jets, opposing gangs in 1950s Manhattan, execute stylized acrobatics that suggest palpable danger while also staying true to the elegant, balletic choreography. Igor Goldin, the director; Jeffry Denman, the choreographer; and Trey Compton, the assistant director and fight choreographer, have found the balance between a realistic portrayal of violence and an artful depiction of it."

-Aileen Jacobson, The New York Times

 

"At the head of all this was the choreography skills of Jeffry Denman ... and Trey Compton, who acted as fight choreographer. This talented team gave the audience a night of dance the excellence of which your scribe has not seen in his near decade of writing criticism.”

-Charles J. Morgan, TBR Newsmedia

 

Reviews for Grease:

"Director Trey Compton, [et al.] have no interest in making sense of the dramaturgical jumble. All they want to do is entertain — and they’ve succeeded immeasurably... [Compton has] charged the production with pace and energy. It’s not his fault the script’s a mess, but it’s to his credit it’s so watchable."

-Ted Hoover, Pittsburgh City Paper

 

Reviews for Romance/ Romance:

“The show, with two distinct unrelated parts tied by a single thread and a common theme, is infatuation, courtship, deception, boredom and reconciliation - marriage itself. Just as a relationship blends disparate parts into a whole, director Trey Compton combines style, beauty, grace and talent to create a more perfect union…Compton offers an elegant, stylized comic operetta as the characters prance, dance and romance.” 

 -Chris Silk, Naples Daily News

 

Reviews for City of Angels:                                                                                  

"[Director Trey] Compton and the cast capture 1950s LA – the stylish femme fatales, desperate writers, even more desperate actors, sleazy movie executives and bottom-feeding criminals – in strong fashion. The success of City of Angels reinforces The Gallery Players’ reputation as a theater that reinvigorates well-worn hits."
-The Brooklyn Paper

 

 “City of Angels” is a gloriously complex piece, though it does not always come off as such due to its inherent wit. It’s genuinely fun, but when given deeper thought, it becomes obvious just how daunting a musical of this caliber is to produce. Overwhelming credit absolutely must go to director Trey Compton, who tackled the difficulty of this remarkably deceptive production.” 

-Reviewfix

 

Reviews for Mrs. Bob Cratchit’s Wild Christmas Binge:

“Director Trey Compton, however, doesn't get bogged down in the possible politics of the piece. Instead, he just wants to have fun with it, and to make the audience laugh. Compton has a great sense of comedic timing, which an author like Durang demands, and he gets support from a great ensemble cast who seem game for pretty much anything. They all have a keen sense of physicality, well on display here, and make the whole production look like a lot of fun rather than work.”

-Nytheater.com

 

“The show is ably directed by Trey Compton, who has the actors play the comedy angle to the extreme, all the while never taking the story or the characters over the line into total parody.”

-The Epoch Times