9th Annual Women of Valor

Women of Valor

 San Diego Repertory Theatre| 25th annual Lipinsky San Diego Jewish Arts Festival
June 7 and 10, 2018

Co-written by Ali Viterbi, Todd Salovey, Leah Salovey, and Rebecca Myers

Co-directed by Ali Viterbi and Leah Salovey

SD Jewish World, Eileen Wingard: “It is programs like Women of Valor, created by local talent… original plays, In Every Generation by Ali Viterbi… that give the festival its unique San Diego flavor and display the wealth of creative talent we have within our own community.”

The rest of the review can be found here!


A Very Modern Marriage

The Owl and Cat Theatre’s A Very Modern Marriage

13680826_10153820007446395_5254961094972091100_n The Owl and Cat Theatre| Melbourne, Australia
July 2016

Starring Ali Viterbi as TINA, Jayden Popik as CHRIS, and Tom Carty as MATT

Samsara’s Blog- What Did She Think?: “One moment in particular, between Viterbi and Popik is absolutely breathtaking, shocking, and unexpected. (You may recognise Viterbi’s name. She wrote Deadheads produced by The Owl and Cat earlier in the year.) In fact, Viterbi and Popik worked well together across the whole play…The acting was precise and overall, I had a sense of complete confidence from the moment I walked in I was going to enjoy a good piece of theatre which showed respect to the play and the audience…I laughed, I gasped, and I chuckled my way through A Very Modern Marriage.”

Blurb Magazine, Alex First: “The humour is both verbal and physical. There is much to enjoy in the inherently clever, at times sage, reflections on the joys and perils (primarily the latter) of contemporary relationships.”

The Plus Ones, Christian: “Like the modern marriage it portrays, this seemingly conventional piece of theatre resists labels, and packs as much fun as it does food for thought.”


The Owl and Cat Theatre’s Production of Deadheads

Deadheads, Owl and Cat 5June- July 2016

Samsara’s Blog- What Did She Think?: “Viterbi picks up on a lot of fun slang and interesting cultural connections, including the predominance of an American Jewish following, but the real heart of the play is the relationship and dynamics between Ethan and Sadie…The sign of good writing, though, is that we understand what is happening in spite of the direction…Deadheads is a really lovely, intimate night of theatre. Viterbi tells an important story: Sometimes abuse does not leave bruises, and not everyone grows up.”

Blurb Magazine, Alex First: “I really started to invest in the characters, to care about what happened to them…Viterbi has given us an enjoyable… journey of discovery and reminiscence that started out with such hope. Before it is over you cotton on to the fact that love will only get you so far and then reality will intervene – even if the connection between this duo will never be broken. We mighty want a happily ever after, fulfilling all that promise ending, but that would be akin to recognising the tooth fairy and Father Christmas actually exist.”

The Urban List- 5 Awesome Things to Do in Melbourne This Week: “Deadheads will hit you right in the feels.”

The Blessing of a Broken Heart

Jewish Women’s Theatre’s Production of The Blessing of a Broken Heart

LA Splash Magazine, February 22, 2016
February – March 2016

“Lisa Robins stars in a solo triumph as a mother who must face her worst fear, the loss of her child. The play is both painful and stunningly poetic as it explores how a family, torn by the bloody loss of their first-born son, gradually comes out of the shadows of catastrophe and blossoms into a new consciousness…….Director Todd Salovey and assistant director Ali Viterbi manage to enhance the tale with bittersweet moments which have lingering echoes from every mother’s losses across the globe.”

Antony and Cleopatra

Yale University’s Production of Antony and Cleopatra

A:C strangle copyYale Daily News, January 2014

“Cleopatra, played by Viterbi, is deemed as one of Shakespeare’s most sophisticated female characters. Viterbi certainly lives up to this standard in her interpretation of Cleopatra’s polar and often very complex moods. Viterbi’s facial expressions — a playful lady or a vicious queen — are easily the highlights of her performance. Her chemistry with other characters, especially Antony and Ledpidus, are undeniably realistic (when I watched her opening romantic scene with Antony I turned away, much as I do in any movie.) Viterbi’s mere presence on the stage brought forth a sense of excitement and anticipation for what was to follow.”