LA TIMES - P. Brandes ("Sea Gull"/Hollywood Court Theatre):
Stephanie Nash's "narcissistic actress-mother Arkadina possesses an eloquent
self-awareness rendered with sympathetic nuances in a striking performance."
KCLA ("900 Oneanta"/Odyssey Theatre):
"The emotional center of this despicable family is Persia, the alcoholic mother who suffers and inflicts suffering with the best
of them. Stephanie Nash's powerful performance as Persia transcends all stereotypes breaking your heart and then scaring the socks off you. Her transition from a pathetic victim, to a ball-busting vixen is nothing short of amazing."
A CURTAIN-UP LA REVIEW, by Jack Holland
("900 Oneonta" /Odyssey Theatre):
Before coming to the Odyssey, 900 Oneonta was produced in London at the Lyric Hammersmith, the Old Vic and then on the West End where it was nominated for the Laurence Olivier Award for "Best Play." It is understandable why it was nominated for such an award. It is a mystery as to why such a strong and very American play as this has to go abroad to be recognized....
Once his daughter Persia (Stephanie Nash) enters the scene, the rest of the cast seem to catch up to Mr. Crooke and for the remainder of the play the ensemble moves as a whole at the same pace. Stephanie Nash as Persia, the mother of Gitlo and Tiger and the daughter of Dandy. She goes from a lost and frightened woman who begs for reassurances of of love from her family to a falsely bold and threatening woman, then back again. Her arrival on the stage marks one of the play's most most moving moments. Ms. Nash gives a solid performance and handles the transitions of her character skillfully.
BACKSTAGE WEST - P. Warfield ("900 Oneanta"/Odyssey Theatre):
"Stephanie Nash as his dipsomaniac daughter, Persia, comes downstairs
looking like Ophelia just fished, dripping out of the river --
but see her after a few drinks, strutting and lashing out, and she's become Kate the Shrew."
KCLA ("A Month in the Country"/Odyssey Theatre):
"As the beautiful Natalya, Stephanie Nash overcomes the bad direction
& an unsympathetic role with a charming and sensitive performance.
Her Natalya loves all these men and can't understand why it doesn't all work out.
We end up rooting for her -- against our better judgment."
("Soundings" Odyssey Theatre):
"The gifted Stephanie Nash" (HOLLYWOOD REPORTER )
gives a "fine, persuasive performance." (LA WEEKLY )
BACKSTAGE WEST - J. Clark ("SHE"-one woman show/Odyssey Theatre):
"SHE is an infectious pastiche of attitudes & persona, in turn wistful, witty, charming & endearing,
--expressing the thoughts & hopes & disappointments of all women.
SHE is an hour's romp through one woman's psyche revealing all women to us.
SHE is Stephanie Nash."
CHRISTIAN SCIENCE MONITOR - D. Wood ( "A White Woman on The Red Road")
There only two things you need to know about Stephanie Nash's "A White Woman on The Red Road."
1) You should see it. 2) You probably don't know you should see it. (How WOULD you know?
except by the sizzling word-of-mouth that is fizzing through the insider theater world here
like flash powder headed toward a powder keg.)
Okay, three things. It's a one-woman show that is rare enough in dramatic form
- minimalist, serious and funny and important all at the same time - that it stands out satisfyingly
from all the other dramatic dregs out there which spend a lot on splash and flash but end up having no soul.
Okay, four things. Stephanie Nash has the kind of eyes and ears that the best standup,
observational humorists have. She knows how to mine the universal from the particular.
That means its not just about her, that there is going to be a point, and it's going to move you,
it's going to challenge you, it's going to expand you. And you are going to laugh while its happening.
The humor is funny, but its funny in a way that is satisfying. I think of Dave Barry
-- whose prose and imagery can leave the reader in stitches for a few minutes but feeling empty
-- and a master like James Thurber or E. B. White, whose writing helps ratchet up one's understanding
of the human condition. Hers is of this latter, more distinguished school.
(For comparison, I think also, of Lily Tomlin's "Search for Intelligent Life in the Universe")
Okay five. Stephanie Nash is also a great storyteller and an engaging performer.
There is lots of gold and no dross in "White Woman " At one-hour, this is a distilled piece,
with nothing crammed in that is not essential, and all that is essential pieced together like a master work.
It moves fast, delivers fast, and often.
What's it about? It's about spirituality and growth, sweat lodges and vision quests.
Its about thirst and fulfillment. It's about darkness and rain and dreams.
Its about NOT taking a four-day luxury cruise.
It's about prayer, meditation, self-realization and a bear with a telegram.
It's addressed to her, but its message is for all of us.
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