Charles Pasternak directs the hell out of the play by staging the moments as colorful micro-pageantry – “Look at this,” the show shouts and teases. “Look at what’s happening here. I dare you not to say ‘Holy shit.’”... Pasternak uses his cast as a fluid, defining and moving the action in pleasant stage picture after dynamic stage picture after surprising stage picture.
— Jason Rohrer on PERICLES, Stage and Cinema
tumblr_oq0f6gNWGB1r7gljco9_1280.jpg

The Fishermen and Pericles

photo by Zachary Andrews

Director Pasternak’s muscular scene work and arresting stage compositions - along with his knack for making virtues of virtually zero production values - translates into a refreshing lack of formal airs and a translucency of language charged with an unflagging energy.
— Bill Raden on HENRY V, LA Weekly
Director Charles Pasternak has created an over-the-top world in which these people even move in choreographed patterns as they dance in and out of Timon’s presence to humbly receive his gifts... the overall world created is a perfect commentary on the materialistic society in which we live... Pasternak did a masterful job of casting and creating two starkly different worlds that each holds their own definition of truth.
— Kat Michels on TIMON OF ATHENS, Culver City News
401789_10100844999810457_1907571176_n.jpg

Timon Distributing his Wealth

photo by Rob Cunliffe

‘How this lord is followed!’ exclaims a Painter in reference to Timon of Athens early in Act I of the play that bears his name. Director Charles Pasternak interprets the line quite literally by having his throng of greedy hangers-on trail behind Timon as he moves about the stage, billowing en masse like a bridal gown’s train that sweeps and glides with every turn. The repetition of the exaggerated movement comically drives home its ridiculousness and leaves no doubt that in this Shakespeare play, the fools are everywhere.
— Ellen Dostal on TIMON OF ATHENS, Broadway World
Director Charles Pasternak’s use of the entire cast as occasional chorus is quite effective. His staging, which frequently involves using the ensemble to create intriguing visual moments, is even better — for example, he positions the subjects of the starving Tarsus at the feet of their hopeless king in a sort of sculpture of despair. He also creates a subtle effect many times throughout by having a character — who is either dead or not physically supposed to be there — silently watching the proceedings, their symbolic presence made manifest.
— Terry Morgan on PERICLES, Stage Raw, 'RECOMMENDED'
Director Charles Pasternak creates a powerful, passionate production always on the move and prowl. His creative, almost steampunk staging contains visceral might in its choreography.
— Mary Mallory on PERICLES, Tolucan Times
Henry V is infused with infectious brio by director Charles Pasternak... it soars on consistently high-quality performances, and Pasternak’s imaginative marshaling of his large cast and clever use of limited performance space.
— Lovell Estell III on HENRY V, Stage Raw, 'RECOMMENDED' & 'PICK OF THE WEEK'
1932335_10151965544693806_1595319128_n.jpg

The Chorus leading the Company

photo by Rob Cunliffe

...an impressive coup involving multiple successful functions: Director Charles Pasternak’s attention to stage picture through light and movement... the director’s work with the other actors is exemplary.
— Jason Rohrer on HENRY V, Stage and Cinema
Pasternak’s ever imaginative direction emphasizes the Merry Wives’ ample slapstick elements... Overall, there are no weak links in Pasternak’s quite competent cast.
— Steven Stanley on MERRY WIVES, Stage Scene LA, 'WOW!"

Scenie Award for Outstanding Direction of a Shakespeare Play: Charles Pasternak - The Merry Wives of Windsor

223940_10150889079613806_585416037_n.jpg

The Merry Wives

photo by Greg Eident

Director Charles Pasternak finds admirable pleasures in moving his large cast around the multi-level space, including ukelele-accompanied group sings framing each act.
— David C. Nichols on MERRY WIVES, LA Times