“But it was Meredith Miller’s eccentric turn as a ship at sea that stole the show.”

— Jena Cutie for the Chicago Reader, review of Meredith’s performance at the After Party Show at StudioBE

Read the full review here.

“The human body and its presence were both ingeniously central to Meredith Miller’s The Abduction, performed between the two Great Small Works pieces. Miller, an accomplished designer and burlesque performer, presented a sort of bodily mash-up of the forms. A series of curtained toy theaters mounted on her body, from her head on down, invoked the tantalizing anticipation just before the unfolding of any performance.”

—Ira Murphin for Chicago Art Criticism

The full review can be viewed here.

“Sketchbook has been one of the more reliable places in town to see the kind of experimental but entirely winsome ultrashort theater pieces such as Miller’s…a major standout…”

—Nina Metz, for The Sun-Times.

Read the full review here.

“Far quirkier is ‘I Wish You Love,’ Meredith Miller’s little act-without-words in which the enchanting Miller, looking like a delicate 1920s flapper and decked out with a tall ship model for a headdress, sails hopefully toward a guy (Mike Oleon) with a lighthouse on his head. She expects a safe harbor, but it doesn’t quite turn out that way in this little gem of a piece.”

–Hedy Weiss, for the Chicago Sun-Times.

Read the full review here.

“For every knockout example of dance for inanimate objects, there’s a bumper crop of misfit toys that never come alive. … ‘Madness in Miniature’ kept the momentum going well into the spring.”

-Zachary Whittenburg for TimeOut Chicago

“Sketchbook has been one of the more reliable places in town to see the kind of experimental but entirely winsome ultrashort theater pieces such as Miller’s … a major standout …”

–Nina Metz, for The Sun-Times.

Read the full review here.

“Far quirkier is “I Wish You Love,” Meredith Miller’s little act-without-words in which the enchanting Miller, looking like a delicate 1920s flapper and decked out with a tall ship model for a headdress, sails hopefully toward a guy (Mike Oleon) with a lighthouse on his head. She expects a safe harbor, but it doesn’t quite turn out that way in this little gem of a piece.”

— Hedy Weiss, for the Chicago Tribune

Read the full review here.

“Meredith Miller performs over half of these acts. Her solos each consist of just a handful of elements: An old song (“Speak Low,” a tango by Piazzolla), plus an object (a gorgeous, handmade galleon hat; a stickpin), plus a visual joke totally unadorned yet fabulously layered. I won’t give any of them away, but there are more in the collection than she showed March 24—an in-progress showcase at Links Hall in January included hat rack trysts and macabre tea parties just as brilliant but not on the Madness menu. All give the sense that we’re seeing things in slow motion, what would happen in the flash of a few seconds “at normal speed.” The pleasure comes from Miller’s expert pacing of each resolution’s reveal.”

–Zach Whittenburg for TimeOut Chicago

“Meredith Miller sang “Mack the Knife” with a thousand-yard stare during blood and bile/brecht and weill, unfolding swatches of burlap stained with silhouettes in blood—it was like a graphic-novella-as-crime-scene, the worms and beetles that scurry out if you peek at the mud under Sinatra’s Rendition.”

–Zac Whittenburg, Dance Editor for Time Out Chicago, on his blog

The full entry can be read here.

“There’s real display of talent throughout, but we only truly get lost in the performances when the cast is manipulating Meredith Miller’s outstanding life-size puppets, used to depict both Charlie’s ancient, bed-ridden grandparents and those Oompa Loompas … It all makes one wonder what would happen if puppet designer Miller were permitted to create Wonka and Charlie and the other kids, too.”

–Steve Oxman for Variety

The full review can be read here.

“…the creativity of the visual presentation through imaginative small and life-size puppets designed by Meredith Miller, a backdrop of three scrolling screens cleverly designed by (Blair) Thomas and delightful costumes by Tatjana Radisic, make it theatrical as well.”

–John Olson for TalkInBroadway.com

The full review can be read here.