ON Alice by Heart

Choreographers Rick and Jeff Kuperman deserve major props... The Kupermans’ witty, athletic choreography is the show’s raison d’être, along with Nelson and her designers’ creative use of setting…
...along with the Kupermans — [they create] a terrific Caterpillar out of the whole ensemble packed together in a line, doing creepy-crawly choreography in matching knitted arm-warmers.
Whenever the Kupermans and the actors let loose together, the show takes off...
— Sara Holdren, Vulture
For all of Alice by Heart’s other moving elements, in fact—among them the fittingly dreamy, sinuous choreography, by Rick and Jeff Kuperman…make it transcendent, a term that can still be applied only occasionally to contemporary musicals. Catch it while you can, and prepare to be devastated, and uplifted.
— Elysa Gardner, New York Stage Review
Aesthetically, Alice by Heart has stunning moments... Rick and Jeff Kuperman’s imaginative ensemble choreography, which delicately floats above reality — sometimes like a dream, sometimes a nightmare — [is] consistently thrilling to watch.
— Hayley Levitt, TheaterMania
The choreography by Rick and Jeff Kuperman is excellent and works beautifully… especially in the Caterpillar
song “Chillin’ the Regrets” and the Mock Turtles song “Your Shell of Grief.”
— Donna Herman, New York Theatre Guide
The staging is fluid and the choreography, by Rick and Jeff Kuperman, often inventive.
— Alexis Soloski, The Guardian
The choreography by Rick and Jeff Kuperman is consistently inventive, providing [...] visual cohesion to the proceedings...
— Frank Scheck, The Hollywood Reporter
Giving the show a lift is the staging directed by Nelson, along with the imaginative choreography by Rick and Jeff Kuperman. Using the props at hand — crutches, helmets, gas masks, curtains and cots — they conjure croquet matches with flamingos, turtles hunkered down for a shelling and garden doorways.
— Frank Rizzo, Variety

ON THE LIGHT PRINCESS

Richly imagined and delightfully acted... [promises to leave] young theatergoers... walking on air!
— Laurel Graeber, The New York Times
The Light Princess at the New Victory Theater is a fiction that charms.
— Fern Siegel, The Huffington Post
Jeff and Rick Kuperman create a flowing ensemble choreography that defies gravity. This show is quirky, imaginative and fun.
— Suzanna Bowling, Times Square Chronicles
The Light Princess is bound to leave everyone who sees it feeling uplifted. Before kids learn to defy gravity at another musical that’s been playing uptown, they should experience the delights of The Light Princess for an unforgettable first taste of live musical theater.
— Pete Hempstead, TheaterMania

On ONE ARM AND A LEG

Every member of the ensemble displays an incredible command of acting and movement. The choreography by Videt, Ricky Kuperman, and Jeff Kuperman sublimely evokes a weird, poignant story of love and dislocation...

Startlingly visceral... Eerily beautiful... Brilliant...

If you want to glimpse theatre’s future, go see One Arm and a Leg...

One Arm and A Leg is one of the most exciting theater pieces I have seen this year, and I look forward to seeing more work from this talented young company.
— Heather Violanti, TheatreOnline.com
...the piece de resistance of this performance is the mesmerizing choreography by brothers Jeffrey and Rick Kuperman...

The Kupermans move with charm and magnetism...

It is clear that One Arm and a Leg was created collaboratively with every artist involved, because the entire show is a unified, vibrant, and exceptional work. This is one of the best performances to play downtown this summer.
— Joseph Samuel Wright, Theater is Easy (theasy.com)

On Was a Time

[The Kupermans] directed the videos for “Good and Ready” and “Was a Time,” which Entertainment Weekly just premiered this week, and they always manage to stretch shoestring budgets into these wildly creative, visually engaging pieces with so much heart and charm.
— Anthony D'Amato, The Boston Globe
From brawling guests to a stolen bride, [D’Amato] collaborated with directing duo the Kuperman Brothers to create an unforgettable vision for the latest single off his New West Records debut...
— FashionNStyle.com

On the 39 Steps

PST’s The 39 Steps opened last weekend to deafening laughter and applause... [the show] explodes on the Hamilton Murray stage under the visionary direction and choreography of Jeff Kuperman. This highly physical re-invention of the classic spy adventure is literally breathtaking, sure to impress as much as it amuses.
— Rick Busciglio, Examiner.com
That was the best production I’ve seen here in at least 10 years.

And if you ever wondered just what was meant by ‘physical comedy,’ watch what director Kuperman has created for the Clowns. He pays tribute to the pair in a program note for ‘danger, perseverance, and trust.’ It is far more than high-speed, side-splitting fun through spyville, it is theater at its most expressive.
— Stu Duncan, PrincetonInfo.com

On SMILE

Clayton Raithel is indeed the “f*cking man”... Hilarious... flawlessly timed... People with depression need to know they’re not alone, and Smile is a brave and honest work.
— Heather McAllister, NYTheater Now
Raithel is an enormously likable performer... He makes great use of the space, sharing his well-crafted tale with wonderful physicality. The sound and video design, too, is among the best I’ve seen and is incorporated seamlessly.
— Ian Federgreen, FringeBlog
Well-written... light-hearted... bold... The direction is a tightly woven canvas of sound, voices, visuals and lights.
— Angel Lam, Theater is Easy

On TIT FOR TAT

... having that edge of the cliff [...] sensation was a constant reminder of the brothers’ precision and brilliant theatrical consideration...
— Grace Courvoisier, Dance Pulp
Kuperman’s Tit for Tat ends the first part with a resounding triumph of masculine aggressive energy, athletic prowess, and visual acumen. The piece is rich with unexpected body shaping, weight sharing, and highly successful visual choices (both in design and staging). Tit for Tat was both thoughtful and exciting - it is clear why it was an audience favorite.
— Joseph Samuel Wright, Theatre Is Easy (theasy.com)
Another memorable piece on the program was Kuperman’s own, Tit for Tat... [The performers] all captured a type of “breathy” strength, and it was very rewarding to see this group of men dance with such fearlessness and commitment. The partnering that Kuperman developed was especially hypnotic. The men were able to use their natural physical strength to create interesting, statuesque snapshots and hold them for a long moment. Overall, Tit for Tat was a very enjoyable and well-structured piece.
— Laura Di Orio, Dance Informa Magazine