Hartford Courant

"Imogen Says Nothing," subtitled "The Annotated Life of Imogen of Messina, Last Sighted in the First Folio of William Shakespeare's 'Much Ado About Nothing,'" also riffs extravagantly on the phrase "Exit, pursued by bear" from a later Shakespeare play, “The Winter’s Tale.” The playwright has spun these bits of Elizabethan trivia into a profound meditation on women in society, gender roles…

New Haven Register

“It is a lonesome thing to be absent,” says the title character of Aditi Brennan Kapil’s new play “Imogen Says Nothing,” which officially opened Thursday at Yale Repertory Theatre. That line, in various shapes, is the motif of this imaginative, exotic and frightfully pertinent play, which continues through Feb. 11 in its world premiere production…

DigBoston

I’ve never cried during a stand-up routine, at least not until I saw “Brahman/i”... More than a string of jokes — though Brahman/i does serve up a potent pot of jabs that tackle post-colonialism, sexuality, family, lazy Americans, and acceptance — the two-hour show reveals the insecurities, heartbreak, and, ultimately, acceptance, of someone who grapples with identity…

Time Out

Aditi Brennan Kapil's fascinating piece, which had its premiere last fall at Minneapolis's Mixed Blood Theatre, is a layered, insightful consideration of Indian-American cultural identity, gender and colonialism that happens to take the form of a stand-up comedy routine… [the show] educates accessibly with no After School Special aftertaste. Brahman/i knows just how to work a room.

Twin Cities Daily Planet

See any one of Displaced Hindu Gods. Better yet, see all of them—together, spaced out over several nights, doesn’t matter. You should see these plays. Great writing, great direction, great design, great acting. All three stories are very different in style and tone, but they all have a smart sense of humor driving them, which makes them entertaining as well as thought-provoking…

Lavender

Aditi Brennan Kapil takes traditional male Hindu archetypes and feminizes them into Western situations in her remarkable new play trilogy… The Chronicles of Kalki is quite simply breathtaking. This sexually raw tale of three teenaged girls - one reticent, one cynical, and one astoundingly daring - plays with our sense of what is real and what is not…

The Los Angeles Times

The foibles of norms we take for granted — and what it means to be “alien” — are examined from multiple angles as fully assimilated Shiv debates the subtextual nuances of Starfleet adventures with her father, a quick-witted modernist poet who fled the psychic burdens of post-colonial India for the elusive American dream of reinvented identity...

Variety

Audiences take a leap of faith along with scribe Aditi Brennan Kapil in her wonderful crazy quilt of a play “Agnes Under the Big Top,” receiving its world premiere at New Haven’s Long Wharf Theater. The result is a tough and tender play and a production that is as graceful and evocative as trapeze artists flying through air with the greatest of ease…

The New York Times

Ms. Kapil, who came to the United States — Minnesota, to be specific — for college, grew up in Sweden, the child of a Bulgarian mother and an Indian father. This remarkable background gives her an unparalleled vantage point for a play about the psychological dislocation that attends the physical dislocation of life as an immigrant. “Agnes Under the Big Top” is rich in feeling…

American Theatre Magazine

Heart-pounding attraction, intense all-night conversations - Aditi Brennan Kapil’s Love Person captures the giddiness of new love affairs. But the play is even more eloquently realistic about the wear and tear that time wreaks on relationships. The story focuses on two couples: Free and Maggie, and Vic and Ram. Free is a deaf woman who communicates through American Sign Language; Maggie…

TC Daily Planet

… The play developed into a moving, nuanced, and provocative exploration of language, intimacy, and the real-world landscape of relationships… With a deft touch, Aditi Brennan Kapil’s play, through Risa Brainin’s direction, covers the shiny obliviousness of first attraction, filial jealousy, erosion of intimacy, and the connections and estrangements that occur through language…