“Part Friedrich Nietzsche, part Jim Carrey…” –Flavorpill

“Lepore defies any stereotype. Is he a comic? A performance artist? An actor? Something else altogether? The correct answers are yes, yes, yes, and yes.” –MassLive

“The writing and ideas here are smart, fresh, and stimulating, and Lepore’s precise acting hammers them home… Lepore manages to evoke each of the disparate folks in this show with subtle but distinct changes in his physicality. I’m not quite sure how he does it, but he actually looks a little bit different as he assumes the mantle of each of his characters.”  –nytheatre.com

“Lepore’s new one-man show, Firecracker Bye Bye, is a tender and funny ode to his late grandmother Nonie. He’s a gifted performer with a rubber face; he can lucidly switch characters just by cocking his head and changing his expression… and this heartfelt show is just about impossible not to enjoy. Bring your grandmother—whether she’s alive, or simply alive in your memory.” -Twin Cities Daily Planet

“Not since Voltaire’s hilarious bashing of the quixotic hero named Optimism… has anyone taken such a serious, and humorous, vendetta against looking on the bright side, as has Seth Lepore… Part Friedrich Nietzsche, part Jim Carrey, Lepore is sharp and challenging and funny and will help keep you honest and light-hearted around your own search for peace and happiness.” Joshua Wyatt, Flavorpill

“Lepore ‘s impressions are fantastically entertaining, and [SuperHappy] has Lepore showing off even more of his physical agility.” vita.mn

“Part of your brain is reminding you that this is a… show mocking exploitative “self-help” programs, but another part will be telling you to sign up for what the gurus are offering. That’s the strange danger of these characters, and Lepore conveys it with a precise, polished, unfailingly entertaining performance.” Twin Cities Daily Planet

One of Twin Cities Daily Planet’s top ten shows…

“One mark of a quality show is how often you find yourself referring back to it when critiquing other shows. This one-man show…demonstrated how satire is sharpest when you don’t underestimate your target. Lepore’s portrayals of shady self-help gurus were completely compelling, all the more so because he wasn’t afraid to let their seductive charms ooze through their ludicrous rhetoric.” Jay Gabler, Twin Cities Daily Planet

“Lepore crafts… a cornucopia of emotions battling each other for a chance in the spotlight and a very clever, darkly funny show…Lepore stretches the limits of character acting by switching effortlessly between facial expressions & expert voice work to bring these people to life on the turn of a dime… [SuperHappy…] is presented with a wit & honesty that makes this my favorite one-man show I’ve seen in quite some time.” –mpls.tv

“Lepore is working with contemporary fallacies—an addiction to simplistic answers arising from fear, or laziness, or God knows what—and seeking something more sophisticated, which avoids the ridiculous and attempts to foster a genuine dialogue that involves the intellect and discernment…” -newyorkarts.net

“Lepore is an engaging, charming performer with a personality that glows so bright you could find your way home by it on a moonless night.” Twin Cities Theater Connection

“Seth moved effortlessly from hilariously funny to heart-breakingly poignant, as amalgamated characters, as well as himself in deeply raw vulnerability.” Steve West, WKVT

“[Lepore]… shows the perils of trying to embark on a spiritual journey when you have the intensity of a true believer but the direction of a lost soul… [and] shows off his integrity as a writer, directing the audience’s laughter at a commentary on the faux-spirituality industry, rather than the motivations of people who buy into it.” DCtheatrescene.com

“Losing My Religion is a humorous, ironic and sardonic look at what he describes as “the blurry line between self-help and faith.” Based on his own spiritual journey, which saw him leave the Catholic Church as a teenager and meander through Buddhism and a host of other isms, the monologue juxtaposes wickedly funny and insightful characterizations of the people he has met along the way with thoughtful commentary on his own spiritual seeking.

Lepore comes across a lone, common-man hero…Possessing a rubber-faced ability to slide cleanly into character and deadly accurate powers of observation, Lepore’s acting is integral to the success of “Losing My Religion” and worth the price of admission alone.

His writing, too, is something to savor. Carefully chosen words make the satire wicked and the comedy rapier-sharp. His humor comes on many levels — sometimes over-the-top, often much more subtle — and that makes an evening rise above stand-up comedy to something a closer to social commentary.” –Brattleboro Reformer

“Lepore is adept at detailed characterization, and that means his haughty Buddhist retreat leader, his rah-rah Yoga-for-bucks entrepreneur and his warrior men’s group speaker are all too real, and funny. … He gets at the tension between the human urge for connection — with others and the universe — and the dangers of guru worship and group-think.” –Boulder Daily Camera

“Lepore is a brilliant comedian (he perfects accents and extreme personalities) that does not need props in order to keep the crowd entertained.” Maryland Theatre Guide

“Lepore keenly identifies stereotypes and then mercilessly overplays them. The result is hilarious… Lepore is telling his own story without reprieve or self-censorship.

Lepore promises to write two more plays in this sequence. I hope to return for front row seats.” –SmallerIndiana.com

“I think Seth is brilliant,’’ says Greg Epstein, Harvard’s humanist chaplain, who saw the performance.

“He takes the point of view of all these things that is represented by the statement ‘I don’t know.’ It’s a kind of agnosticism, but it’s a strong agnosticism, and a smart agnosticism,’’ the chaplain explains. “It says, ‘I don’t know, but you probably don’t know either, and sometimes you say these things that make it seem to vulnerable people like you do know.’ ’’ –from a preview article in The Boston Globe