Press Clips

Flight School

"A charming adaptation that supports Penguin's dreams while not ignoring the basic laws of aerodynamics... Simple and straightforward enough to be understood by a 3-year-old, but engaging enough to amuse a parent... The production's biggest boon, however, may be its score." – Laurel Graeber,

"The songs by David Mallamud and Joshua H. Cohen, are upbeat, fun, and move the story along nicely... This is a show I would definitely recommend for a young audience to see. Loads of fun all around!" – Nora Davis, Times Square Chronicles

"The perfect show for young kids. One charming, engaging song follows another... Boys and girls alike (big and small) walked out of the theater with a smile on their faces and hope in their hearts." – Vonnie Murad, Macaroni Kids

"And truly, how could a show about a penguin who wants to fly not be adorable? The songs were peppy & fun, & all the girls had an opinion about which character was their favorite post-show. And SPOILER: the penguin does fly, with a little help from his friends. Loved the message!" – Ellen Schmidt, Baby Meets City

My Mom is a Sex Therapist

"Clearly, Cohen's witty lyrics and melodically varied songs are a big reason that this show succeeds. He obviously collaborated closely with Maltz, adding such colorful imagery to the compositions." – Kevin Scott Hall, Bistro Awards

Tamar of the River (OCR)

"Not since Dave Malloy's NATASHA, PIERRE & THE GREAT COMET OF 1812 (Original Cast Recording) have I had the pleasure to experience a score so meaty, unique, and vastly interesting in the genre of musical theatre... The whole recording has a timeless aspect to it and a power coming from the sincerity of sorrow, yearning, love, and triumph." – David Clarke, Broadway World

"This is music that stays with you. It crawls inside and refuses to leave." – Michael Kras, "Top Ten Musical Theatre Albums of 2014," The Cast Album Review

"Tamar of the River is one of those unique scores that successfully goes beyond the boundaries of Times Square -- and beyond the boundaries of Western cultures -- for its influences. Marisa Michelson and Joshua H. Cohen have written a beautiful score that pulls from a wealth of different traditions. The 2014 world premiere recording gives us the opportunity to experience this short-lived off-Broadway show. It is challenging yet accessible; unified and whole, but with clear elements. The final effort shows off a fresh approach to musical theatre, inspiring to listeners even after several listens... Joshua H. CohenŐs lyrics... are a well-blended mix of storytelling and metaphor. His words give insight into the intense passions at hand and propel the characters along their journeys." – Andrei Strizek,

"Tamar of the River is simultaneously about as far away as you can get from Hamilton and as far away as you can get from traditional musical theater, which makes it Hamilton's diametrically opposed twin -- it's similarly ambitious and atypical, with a similarly unique take on the power of myth and history... The preservation of its cast album will hopefully lead to a well-deserved cult following." – Aja Romano, Constance Grady, and Todd VanDerWerff, "7 musicals to listen to if you like Hamilton,"

"One of the most extraordinary new scores in years." – Jesse Green, Vulture

Tamar of the River (Production)

"A thrilling piece of theatre... A star is born here in the work of Margo Seibert as the young Tamar... Joshua H. Cohen’s book and lyrics are touching and well thought-out. In a world where morality seems to have vanished and peace a concept hardly practiced, this piece lights the way to discussion. Marisa Michelson’s music and book is haunting and ethereal… Rarely do you see a piece that is so new and enchanting. This is a must see for musical theatre lovers." – Suzanna Bowling, Times Square Chronicles

"Michelson's challenging and tonally complex music is some of the most unique and beautiful I've heard in musical theater... The stellar cast effortlessly delivers this very difficult material while performing Chase Brock's visually appealing choreography, which turns human bodies into a rushing river." – Zack Sullivan, Theatermania

"The glorious Tamar of the River... is a must-see for anyone interested in nontraditional, engaging, and accessible musical theatre... The show is compelling, sexy, sometimes funny, and deeply emotional." – Wendy Caster, Show Showdown

"Tamar of the River is a powerfully beautiful and deeply affecting allegory about love and the potency of belief. It’s about fear and how it drives well-intentioned people to act in contradiction to their own wishes. It’s about a woman’s sacrifices for the good of a society caught too long in the gears of war to appreciate the seeds of hope planted in their gardens. It’s about dreams for a better future. It is an ancient, and timeless, and timely tale." – Marti Sichel, Woman Around Town

"Billed as 'music theater,' we found Prospect Theater Company's Tamar of the River to fulfill the artistic requirements of an opera. In case you are unfamiliar with our taste, that is high praise indeed." – Meche Kroop,

"It's hard to imagine a more ambitious piece of musical drama coming out of indie theatre than Prospect Theater Company's production of Tamar of the River... The narrative takes on immense power through Michelson’s rich and distinctive score." – Ron Cohen,

"Tamar of the River is a phenomenal effort of beauty." – Tzippora Kaplan, Theater is Easy

"Alluring and lyrical... Ms. Michelson’s music is frequently exquisite and always melodic… Chase Brock’s choreography alternates between the wonderfully intricate and the satisfyingly muscular. Brian Tovar’s lighting design is flawless. Brett J. Banakis’s set, a bare runway with a grandly simple staircase, assumes real beauty when a village is represented by tiers of dollhouse-size white pyramids lighted from within." – Anita Gates,

"Tamar has courage. Tamar is something new." – Adam Guettel

The Thirteenth Commandment

"Bottom Line: A difficult but rewardingly challenging play about the human need to probe information to make meaning of life and the probable manipulation of that impulse." – Rachel Merrill Moss, Theatre Is Easy

"I'd be surprised if I don’t hear more about The Thirteenth Commandment soon." – Chris McKittrick, Daily Actor

"Society barricades itself in delusion to survive a chaotic universe that laughs at our moral order by contradicting it. The Thirteenth Commandment demonstrates what can happen when delusion takes action." – Dana Kitchens, Show Business Weekly

Post No Bills

"POST NO BILLS: The Songs of Joshua H. Cohen, directed by MK Lawson and performed by six recent NYU grads, is full of smart lyrics and engaging melodies. Songs about love and feelings hit the DNA of everyone, including old guys like me. Mating, dating-- in song. Cohen’s lyrics hit the brain as well-- they are cleverer than most of what I’ve heard in years, and it’s a real pleasure to experience smarts (and original melodies) of this level. Songs like "Everybody’s Perfect but Me" show Cohen to be a major talent. Someone should shape this great stuff into a show with a book and put it on Broadway." — Richmond Shepard, Lively Arts

The Adjective Noun of Character

"Joshua Cohen cavorts with the power of words... as a couple’s relationship unravels with Madlibs-inspired dialogue." — North Shore Footlights

The Day the World Went Queer

"The Day The World Went QUEER!, a simply fabulous menage of '50's science fiction and modern politics, starts silly and gets sillier, wrapping its rather bitter pill of a social statement in plenty of sweet satirical candy. It would be ingenious enough to reimagine Invasion of the Body Snatchers as a commentary on right-wing homophobia, but it's a stroke of pure brilliance on the part of the creators that they made such a reinvention a musical... Campy, witty, and quite enjoyable." — Jena Tesse Fox,

"Jonathan Matthew Gilbert's brilliant production leaves no stone unturned in its efforts to find fresh and funny ways to satirize conservative fears of the queer agenda and the alleged infallibility of heterosexual marriage." — The Village Voice

"Fantastic... everything flows perfectly." — John Samuel Jordan,


After my song How the Apocalypse Came the Night We Fell in Love was featured in "A Little New Music" at Rockwell Table and Stage in Los Feliz, CA, performed by Heather Lake, it was singled out for praise by LA Weekly.

Both Tamar of the River and The Thirteenth Commandment were cited in the Huffington Post's 2013 year-end wrap-up Ten Theater Companies That Made My 2013.