“Bruise & Thorn counts a memorable authenticity among its best qualities; the work is very queer, very Latinx, very New York City. Filled with hip-hop, impromptu duckwalks and loving shade, Jiménez’s humor is performed with contagious enthusiasm by his two leads.”

“Funny though the play is, the surprising and rather lovely thing about “Locusts Have No King” — is that it never treats its characters or their vocation as punch lines. These are people in relationships, with each other and with God, and some of them are deeply devoted to their work.”

“He’s like the long-lost love child of Grace Slick and Sylvester. As the wind blew through his increasingly damp hair and he belted toward the heavens, I couldn’t take my eyes off him. Oso Fabuloso is serving us Meat Loaf con sofrito and we eat it all up.”

“Bruise & Thorn emerges as a voice for not only queer representation onstage but also as an uncompromising, forward-thinking examination of identities within our community. ”

“...there is much to admire and enjoy about ‘Bundle of Sticks,’ especially in its uninhibited imagination and resourceful theatricality.”

“Mr. Jiménez himself takes on the central role of Oso, and he’s nothing short of a revelation as he outrageously struts like a 1980s metal band frontman and sluts like a man on a mission at the Eagle. The possessed performance feels utterly lived in and alive...”

“Mr. Christopher writes with humor, facility, intelligence and great clarity.... His language is often poetic, but never jejeune.”

“Jiménez’s play has imagination and magic in spades.”

“Christopher’s synthesis of queer life and Catholic theology is remarkably (but perhaps unsurprisingly) cohesive. We hold on to every word as he strings us along through his undeniably entertaining story.”

“Christopher’s play is a revelation (pun intended). Locusts Have No King is a play that does not avoid spectacle. And yet Christopher’s brilliance as a playwright is that he keeps the characters genuine in the face of such dramatic given circumstances.”

“Initially you think that you are watching an intense commentary on the complexities of maintaining functioning long term relationships but then Christopher offers up more and more exquisite twists and turns that lead you into a dark, shadowy abyss of personal dilemmas and shifting moral compasses.”

“Well-crafted and well-paced, Locusts Have No King is a sharp new play by J. Julian Christopher...”

“Played powerfully by Mr. Christopher, Finn, short for Phineas, is a street-hardened Latino with previously unsuspected stores of intellectual power. This angry, emotional creature bears a whiff of the Tennessee Williams type of tragic figure.”

“This play takes a leap in American Theater by revealing a subculture not too frequently talked about... It’s a love story destined for failure, yet Christopher carves out their tale so well that you want the two of them to find what they’re yearning for... Animals Commit Suicide is a dark play exploring depression and self destruction with the right amount of comedy sprinkled to serve as a play that’s both entertaining and enlightening.”

“Playwright J. Julian Christopher aims to create an unflinching glimpse into gay subculture.  From the clubs to the clinic, the playwright deals with the ways that the main characters seek to find love, belonging, and acceptance. Scene by scene, Chance, Ethan, and Sebastian find their way through an all too gritty New York City.  From the street to the bakery, the characters are unrelenting in their desire to find what they are looking for.”

“Christopher has a very strong and compelling version of his play on stage. The only thing he needs now is a theatre willing to take a chance on an outstanding play with a world-premiere of a full production.”

“Christopher draws his audience in with wit, bawdiness, and unnerving truth... Man Boobs is a provocative play that entertains and makes its audience feel. No doubt Christopher will continue to do the same in his future works.”

“Playwright Christopher clearly knows his stuff as he rightly has Jesse rattle off a litany of punks of color in order to shut down Luis’ simpleminded argument that punk is a white man’s game... Nico delivers in its main pursuit, which is to draw attention to issues of identity and belonging in a setting that can be quite close-minded in its pursuit of anarchy.”

“I left the theatre feeling like I’d been punched in the gut… in a good way.  This was a powerful and meaningful piece that leaves you more than a little shaken in the end.  It looks at a phenomenon within modern gay culture.  It looks at humanity’s darker side.  It looks at one man’s struggle with guilt and acceptance.  And when it comes down to it, it tells a tale that makes the audience think and feel.  It does everything a play should, and it does it really well.”

“Jiménez is smart in not promising more than this lighthearted play can handle when it comes to the ideas of gender, identity and class it evokes. For all their dreaming, “Bruise & Thorn” knows exactly how to stay woke.”

“Ronald Reagan Murdered My Mentors both celebrates and critiques a gay culture of sexual libertinism.”

“Jiménez writes tough, sizzling dialogue, ninety percent of which is not quotable here, and it’s hard not to be captivated by his characters as they elbow their way from marginalization to triumph.”