dancarbone.net
(scroll down to view selected press quotes)




"Dan Carbone is a formidable representative of the Surrealist Art Form. He brings an astounding child-like and personal imagination to his work, augmented by the techniques of a seasoned performer with a wide array of singing, mime and acting skills.  It's a wild ride into a surreal world that mixes memory and fantasy into a magical concoction. I’m proud to be associated with anything he does."
 Philip Proctor, Firesign Theatre

"Dan Carbone is not of this earth! He is a true transplant from the real nether-lands. Not from the land of tulips and windmills, but from a region between retardation and genius! His mind is a bridge where  wisdom and infantilization cross deep waters. His mental imagery contains all the garbage that has been flung at him from kindergarten on up. The deep waters of his mind have washed that garbage and beached it in strange formations for all to view. Like seashells they sing the tunes of their birthplace.”  
 – George Kuchar


SELECTED PRESS QUOTES

(for full articles see “Reviews” Section)

 “Carbone's ability to evoke the most unconventional of worlds — beginning with his classic one-act Up From the Ground, involving a mysterious giant flower in a Southern cornfield, has been discomfiting and astonishing audiences and critics on for more than 10 years….”    
- Nicole Gluckstern , SF Bay Guardian

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 “A long-cherished and uniquely committed Bay Area talent who remarkably has eluded actually being committed."
– Robert Avila, SF Bay Guardian

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“Watching him is like being in a car with someone who zigzags left and right and makes you periodically unclear where you're going to end up; but then you do end up somewhere, and while it might not be exactly familiar, you're never sorry you went." 
- Lisa Ferber, NY Theatre.com

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“One of Bay Area Theatre’s most original voices…
Jonathan Winters meets Cocteau.”
-Brad Rosenstein, SF Guardian

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“The snatches of comic surrealism Carbone performed as companion skits were among the funniest things I've ever seen onstage."
– Michael Scott Moore, SF Weekly

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“A mild-mannered eccentric with a mind as big as Texas and a face like Silly Putty, Dan Carbone is a delightful oddity among local solo performers--his off-kilter perspective on reality and its illusions creates a strange, funny and disturbing-in-a-good-way
 hybrid of Flannery O'Connor, The Twilight Zone, Mister Rogers and Jonathan Winters."     
 - Kerry Reid, SF Metropolitan

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“Carbone delivers a piece so unlike anything one typically sees in San Francisco theaters that the audience is likely to have
a reaction of complete flabbergastation.”
– Daniel Ari, Big Empire.com

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“He's kind of the Daniel Johnston of performance art: Local entertainer Dan Carbone possesses an epic dedication to his art, which could be defined as "being super weird." Plenty of people (art school druggies, mostly) dabble in being super weird, but they don't have the stamina, the locked-jaw commitment, the self-knowledge,
or the skill of Carbone”  
-  Hiya Swanhuyser,  SF Weekly

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 “Carbone is one of those geniuses who only get better with age.
And lucky are we to see his work as it has grown…”  
- Linda Ayres-Frederick, San Francisco Bay Times

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“You think your life is more than a little surreal? You think you're a freak? You think you've seen some rad, edgy theater?
Then you haven't seen a Carbone show.  Carbone is a trip.
A genius freaky trip.”
-Karen McKevitt, SFist

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 “Ever had a shot of morphine? Truly one of life’s
odder experiences. There you are, pinned to the hospital bed,
watching. You can do nothing, interact with nothing, make sense of nothing: you’re just passive ectoplasm
gaping at a demented universe unfolding around you.
---Welcome to Dan Carbone’s universe.”

- Ed Brownson, SF Bay Times

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“His show is manna for overgrown but still fucked-up kids everywhere -- which is to say, for all of us.”

-Lily Janiak, SF Weekly

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"A kind of nightclub butoh spazzed with satirical relish and a craziness that dares you to look away. About mid-way through the show there was an extraordinarily powerful sequence in which a seemingly innocuous mask combined with a darkly demented text and a maze of slow, wild contortions, becomes the very face of evil. A voodoo of death dancing with obsessive and joyless glee across the world. It was unforgettable and the sign of a formidable talent."
–Christopher Bernard, Synchronized Chaos

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