var raves = new Array; raves.push("Attention to detail makes all the difference, and my brilliant Berkeley friend, the great opera buff/dramaturg/librettist avid Scott Marley (The Riot Grrrl on Mars and other hit productions), is nothing if not meticulous.

— Bay Area Reporter, 13 July 2006"); raves.push("Over many years working with Berkeley Opera and other companies, Marley has refined his fastidiousness to a high art. It's what keeps audiences returning to see his shows.

— Bay Area Reporter, 13 July 2006"); raves.push("The dot-com boom may have evanesced like champagne bubbles, but Bat out of Hell, David Scott Marley's adaptation of Johann Strauss' Die Fledermaus, is still fresh, funny and pointedly satiric.

— San Francisco Classical Voice, 16 July 2004"); raves.push("Mr. Marley's work is that rara avis, an updating that fits the original material perfectly, works on multiple levels, and translates the essential vitality of the model to a new audience.

— San Francisco Classical Voice, reviewing Bat out of Hell, 16 July 2004"); raves.push("Bat out of Hell is almost entirely character-driven comedy, more so than the original operetta.

— San Francisco Classical Voice, 16 July 2004"); raves.push("Marley's version makes sense of the plot, moves the show along swiftly, and provides lyrics that are cleverly rhymed, intelligible, and — most of all — easily singable.

— San Francisco Classical Voice, reviewing Bat out of Hell, 16 July 2004"); raves.push("Mr. Marley and Berkeley Opera are justifiably proud of their delicious show.

— San Francisco Classical Voice, reviewing Bat out of Hell, 16 July 2004"); raves.push("Of the many things you can do with (and to) opera, there is "updating," spoofing, and producing a work really well. Then, there is David Scott Marley.

— the Berkeley Daily Planet, reviewing Bat out of Hell, 20 July 2004"); raves.push("Marley's 1996 adaptation of Johann StraussÕ Die Fledermaus, now revived at Berkeley Opera in a sparkling production, transcends a single approach.

— the Berkeley Daily Planet, reviewing Bat out of Hell, 20 July 2004"); raves.push("Marley's take on the Fledermaus story is rich in ideas, consistent in execution.

— the Berkeley Daily Planet, reviewing Bat out of Hell, 20 July 2004"); raves.push("The best, the most hilarious of Marley's adaptations is making Prince Orlofsky into a juvenile version of Bill Gates, an awkward, maladjusted 16-year-old genius, a mercurial multi-billionaire CEO. His aria becomes "Follow your bliss," with the passage: "Just because I wrote some code / And made a lucky strike / Each man I meet becomes my toad / And I do what I like."

— the Berkeley Daily Planet, reviewing Bat out of Hell, 20 July 2004"); raves.push("Bat Out of Hell switches the action from 19th century Paris to dot-com-era Berkeley. Marley souses the work in comedy, irony, satire, and good-natured humor.

— the Berkeley Daily Planet, 20 July 2004"); document.write(raves[(Math.floor(Math.random() * raves.length))]);