There's no denying that what the experimental playwright and University of Texas at Dallas professor brings to the table is unique, necessary, and refreshingly off-the-wall.

D Magazine, Dallas


Recent and Select Historical Press




For their next production, Riccio wanted to do a show about whites appropriating black culture, and toy with role-playing. He'd been tinkering with a script and sent it to local actor David Jeremiah for feedback. As they sent notes back and forth, the script changed into a story that was more about being a black man in America.

Riccio also wanted a change of scenery, so he scoped out a house not far from the warehouse. It was perfect — too perfect, really. There were feces spread on the walls, and like all good monuments of urban decay it had been gutted of its pipes and wiring. But getting running water and electricity in the house would have set the Zombies way back, so they found a nice fallback house on Poe Street, a notorious drug house that had abandoned but not yet ripped of all of its vital organs. McGregor told Riccio he would be happy to rent the house to the Zombies for a dollar a month.


from the Dallas Observer






I see my work like that of a diviner. When I meet a group of people that I am going to work with, it is thier needs that I must discover and respond to. The confluence of the inner and outer world is the center and what dictes the work. It guides the work and tells what needs to be evaluated, affirmed, and balanced. This is the practical function of theatre. 

from Teatern Magazine, Sweden