"Remmes can write scenes that are hysterically funny, scenes that actors might pay to play.
"His flip dialogue is rife with insights into the rituals and pitfalls of first dates, the fragility of relationships, and the nature of life and death and everything else in between.
"[He] succeeds in making us laugh mercilessly and entertaining us with one-liners, thought-provoking sentiments and delightful character quirks."
— Nightlife (Los Angeles)
"Usually the search [for self] isn't as amusing or as well-crafted as this comedy by Dan Remmes.
"The writer could have turned this into a movie-of-the-week bittersweet drama, but lucky for us, he didn't. He instead gives what feels like the true story of the subtle, emotional and mental gymnastics the mind goes through after the body nearly dies. He does it mostly beneath the surface, with a deft hand and many funny jabs.
"All three [characters] trade a lot of witty, barbed sarcastic remarks and ironic jokes, giving it a real solid foundation in today's attitudes."
— The State, Columbia, SC
"A romantic comedy the likes of which we rarely see on stage these days. We do care about these characters, and we want to know how things will work out between them and why."
— Backstage West (Hollywood)
"It's a real pleasure to report the appearance of a new and genuinely funny play.
"The playwright has a wonderfully inventive comic mind, writing dialogue that is consistently clever and, what's more, continuously funny. Most impressive is his seamlessly merging the disparate genres of farce and romantic comedy, a very difficult trick to pull off.
"What Doesn't Kill Us certainly makes us laugh, and that indeed is therapeutic … the prescription from this corner would be to see it without fail."
— Columbia Free Times, SC
"Everything works; the dialogue's witty and scenes fast-paced . . . Bring a date."
— Hi! Drama
— L.A. Weekly
"If what doesn't kill us makes us strong, anyone in need of strengthening—or laughing—should not miss the play What Doesn't Kill Us.
"Dan Remmes presents a superlative script that is brought to enchanting life.
"Imagine being stuck in an elevator with the man whose live-in girlfriend you've been dating . . . you've got a scene that'll keep you chuckling into next week."
— The Patriot Ledger, Quincy, MA
"Playwright Dan Remmes does a fine job of covering familiar territory—sexual innuendo, tension, expression—without relying on cliches. Through repetition, with characters trading similar lines through the show and the action revolving around three main settings, we bounce around in the same bewildering cycle Joy endures . . . the slapstick humor and energy of the show do not eclipse well-placed lines.
"An underlying theme of self-actualization rings clear.
"A delightful romp, leaving one with a smile and a sense of contentment for life's simpler moments."
— VOX Newspapers, Burlington, VT
"Sharp and funny.
"Certainly, they're [the characters] as self-absorbed as any of Jerry's [Seinfeld] TV gang, but Remmes has fleshed them out to the point where we actually care about each of them.
"Portland audiences are used to seeing plays in development or in workshop . . . take advantage of it; if What Doesn't Kill Us is a New York success, you can say you knew it all along."
— Portland Press Herald, ME
"Hilarious comedy . . . a raucous, wild, comic take on the bizarre twists and turns of dating and love.
"Pure fun, making for a perfect summer evening at the theatre. Mr. Remmes' play [is] bright and breezy . . . unabashed fun from beginning to end.
"For those who haven't managed to date lately, What Doesn't Kill Us will come off as wildly funny if improbable. For those who have, it will come across as too, too real and familiar . . . You don't want to miss this one, or you may find yourself heading to New York to pay outrageous prices to enjoy it."
— The Standard Times, MA
"Playwright Remmes had developed personable characters that will have you pulling for each one as this convoluted plot unfolds . . . a sassy comedy full of clever repartee that zings between the delightful characters"
— Punch-In International Syndicate
"As the story begins to unfold, the confused relationship and mis-timed love is reminiscent of one of the great romantic comedies, A.R. Guerney's Love Letters. But this contemporary comedy captures the heart and soul of the pop standard bearers of the genre.
"The first act is playful and upbeat, while leaving the audience just enough off balance to wonder what can come next . . . as you begin to feel comfortable with the direction of the play, the second act opens and just continually smacks you on the head.
"A kind of Neil Simon meets Woody Allen."
— The Middleboro Gazette, MA
"The comedy here—and there is good and plenty of it—proceeds almost entirely from the situation . . . these players provide the delivery and timing for this downpour of gag-lines to keep the audience laughing throughout.
"One feels great admiration for playwright Remmes, his seemingly inexhaustible wittiness, his invention of unexpected little turns of events to keep the story rolling out, and especially his delicacy in bringing the whole trifle to an acceptable and not entirely pat conclusion."
— Drama-Logue (Hollywood)
"Remmes does his best writing with the character of the eccentric bellhop who works in a high-rise hotel but is afraid of elevators . . . late in the second act he has a wonderful 10-minute scene that's a jewel."
— The Daily Californian
"Amanda Jordan and Norman Draper sound like a couple of characters in a Noel Coward play. They're closer to Neil Simon's world, actually, though hip enough about sex to pass as the baffled friends and lovers on Seinfeld or Mad About You."
"That kind of stage writing, with its formulaic mix of wisecracks and feelings, makes Dan Remmes' Night Out a swell vehicle . . ."
— San Diego Union Tribune
As an Actor:
"Dan Remmes as Amos Hart turns in a superb performance . . . and when Amos whines that no one notices him in his show stopper, Mister Cellophane, Remmes is anything but brushed under the rug."
—The Observer, Medford, MA
"Dan Remmes seems a natural for the upper-crust, mother-writing Natwick, bringing to the role a sweet and understated charm."
—Backstage, New York City
"The role of Barnette Lloyd, happy to parade his professionalism and three-piece suit before Babe, whom he not so secretly admires, is well done by Dan Remmes."
—Patriot Ledger, Quincy, MA
"Dan Remmes plays a hilarious drunken, drug-taking young man."
—Jewish Times, Long Island, NY
"With the help of talented actors (Remmes is not too shabby himself) and finely tuned direction, What Doesn't Kill Us succeeds in making us laugh mercilessly . . ."
—Night Life, Los Angeles
"Dan Remmes, however, almost steals the show with his rendition of Mister Cellophane in which he laments that everyone, including his wife Roxie, sees right through him. Ironically he exhibits more emotional commitment in his character than the rest of the cast."
—The Daily, Somerville, MA
"She has a devoted and clever boyfriend, Karl (an adorable Dan Remmes) . . ."
—Night Life, Los Angeles
¨Remmes gives an affecting portrayal of the conflicted son in this piece."
—NY Theatre Briefs
"Remmes' portrayal of sarcasm is a joy to watch."
—Punch-in International Syndicate
"Liver for Breakfast was terrifically acted by Dan Remmes"
"Solidly acted by Dan Remmes"
—New York Theatre Experience, Inc. (NYTheatre.com)
"Dan Remmes acquits himself nicely as Tom the vet."
"Dan Remmes has the difficult job of keeping the rather simple Tom from becoming a joke, but he succeeds admirably."