Theatre
"Read’s Hermia is fantastic, especially in a scene in which she is on her fourth martini. The next time you need a drink, Hermia, just text me, I’ll be there, I promise."
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-Leah Franqui, revewing Simpatico Theatre's Dead Man's Cell Phone
Kate Brennan (L) as Jean and Erin DeBlois Read (R) as Hermia in Dead Man's Cell Phone at Simpatico Theatre.
Theatre
"Read’s Hermia is fantastic, especially in a scene in which she is on her fourth martini. The next time you need a drink, Hermia, just text me, I’ll be there, I promise."
​
-Leah Franqui, revewing Simpatico Theatre's Dead Man's Cell Phone
Kate Brennan (L) as Jean and Erin DeBlois Read (R) as Hermia in Dead Man's Cell Phone at Simpatico Theatre.
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Theatre
"Read’s Hermia is fantastic, especially in a scene in which she is on her fourth martini. The next time you need a drink, Hermia, just text me, I’ll be there, I promise."
​
-Leah Franqui, revewing Simpatico Theatre's Dead Man's Cell Phone
Kate Brennan (L) as Jean and Erin DeBlois Read (R) as Hermia in Dead Man's Cell Phone at Simpatico Theatre.
L-R: Kimie Muroya, Erin DebLois Read, Lex Thammavong, Cassandra Alexander and (center) Charlotte Northeast in Philadelophia Arists' Collective's production of Jane Eyre.
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"An incandescent Cassandra Alexander plays young Jane (as well as a loveable Adele). Northeast takes on the adult governess. And Alexander also joins a chorus of Janes, who alternately scold, encourage, comfort, and protect her. Her vituperative Aunt Reed (a compelling Erin DeBlois Read), beloved maid Bessie (Kimie Muroya), and ethereal, moralizing childhood friend Helen (Lex Thammavong), along with Jane’s childhood incarnation, become the heroine’s four shadow selves, dramatizing her inner conflicts.
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They give Jane a passionate inner child in the body of Alexander, a practical and ambitious cheerleader in the warm Muroya, an anxious, monitory watcher in Read, and a steadfast conscience in Thammavong. These fluid performances, beautifully characterized under MacMillan’s direction, aptly represent the way we can internalize and rely on the voices we hear in childhood, for good or ill. These Janes create a vocal and visual tempest that represents Jane’s own warring factions when she faces crisis, with the help of subtle choreography by K. O’Rourke that lets this chorus materialize and flow in and out of the action."
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-Alaina Johns, Broad Street Review
