Christa Scott-Reed

Christa Scott-Reed commands the stage as Einstein’s inquisitor, the reporter, who has a story of her own to reveal. She’s a good balance for Dreyfuss and they work so well together.

– The Westfield News

Christa Scott-Reed has the physical bearing and snappy tone of Katherine Hepburn, peppering Dreyfuss’ Einstein with questions and accusations.

– Hartford Courant

Ms. Scott-Reed’s performance as Margaret Harding, the mysterious visitor was equal parts raw emotion and determination…a moving and thought-provoking night of theatre.

– Broadway World

Christa Scott-Reed steals the show as the unhappy mother of a bright, slightly nerdy 17 year old…Scott-Reed is the show’s biggest asset as an achingly sad mother…quietly emotional.

– The New York Post

Both [the costs of social conformity and the process of sexual awakening] are embodied in the show’s most arresting performance, Christa Scott-Reed’s turn as Anne…Scott-Reed makes Anne an appropriately maternal taskmaster in her opening scenes, then proceeds to unravel with skill and subtlety.

– Backstage

In one of the last scenes, Isabelle finally has a heart-to-heart with the tightly wound Anne –  brilliantly embodied by Scott-Reed – and these few minutes are more compelling than any before or after.

– Theatremania

Infinitely thought-provoking…Three actors play all the characters. Christa Scott-Reed achieves the most distinctly different interpretations, in roles ranging from a serene spirit guide to a ghost who does nothing but grumble…Three strong performances…consistently intriguing.

– New York Times

The three fine actors, jumping from character to character with the ease of acrobats, do full justice to Lewis’ text.  Scott-Reed is devastating as the grief-stricken mother, but the ease with which she handles much different characters gives the true measure of her skill….the performances are first-rate.

– D.C. Theatre Scene

The format gives the talented actors lots to do, and each of them rises superbly to the challenge.  Scott-Reed gives a particularly insightful, unnerving rendition of a ruthless social climber who drove her husband to a nervous breakdown, and whose idea of heaven is having him back under her thumb.

– D.C. Metro Theatre Arts

On Golden Pond features the finest performances I’ve seen on stage this season… Keir Dullea’s exceptional performance…depicts a throwback, yes, but also an emblem – if not an icon – of a past generation. As his long-suffering wife and daughter, Mia Dillon and Christa Scott-Reed contribute performances of equal magnitude. Dillon glows with adoration and matronly care, and Scott-Reed tempers the backlash from her hurt with slivers of vulnerability.

– Philadelphia Inquirer

It is Scott-Reed who is left to provide the welcome comic elements in the tale…she deftly adds sentiment-reducing comedy to the tale.  In an early scene she delivers a delightful duologue as Anne and a busybody neighbor: it epitomizes all that is best about this charming holiday production.

– Backstage

Beautifully performed…A portrait on par with Cherry Jones’ in Doubt.

– New York Times (Jason Zinoman)

A remarkably nuanced portrayal…Scott-Reed infuses Theresa with warmth and humanity that never becomes saccharine and brings emotional weight to the nun’s crisis of faith.

– American Theatre Web

But what really fuels the play is the motor-mouth monologues of Diane – played by Christa Scott-Reed with verbal panache and claws-bared elan. Model-thin and dressed to kill, Scott-Reed is a sharp-elbowed Dream Factory combat vet.

– Seattle Times

Standing out for sure is Christa Scott-Reed as Diane. Her potency, control and grace on stage are truly awesome…the cast is an unstoppable force of comedic timing, grand power and brilliant clarity.

– The Broadway Hour: Seattle

Christa Scott-Reed seizes on the juicy role of Diane with gusto….using pitch perfect comedic timing…she takes full command of the stage, expertly delivering her deliciously crafted monologues…Christa Scott-Reed appears to effortlessly rise to the challenges of this role and gives a tour de force performance.

– Northlake News

Superb acting…Honour is deeply moving as performed by the excellent cast…Doman and Scott-Reed evolve from the uneasy tension of an interview into sexually charged flirtation by finely-calibrated degrees…{Scott-Reed’s] introduction of sexual references and carefully calibrated provocative poses are exquisitely portrayed.

– San Francisco Chronicle

Scott-Reed nails the stance of the predator…she crackles with the lust for ambition.

– San Jose Mercury News

It’s Christa Scott-Reed as Lady Dorothy India who dazzles with 1920’s verisimilitude as she dances and poses as one truly in love with adventure – especially if it’s slightly naughty. She reminds one a Diana Rigg at her controlled sexiest and most arch.

– The Advocate

Scott-Reed’s fabulously frenetic portrayal make it as exhilarating a phone chat as you’re likely to see on stage…her performance is a tour de force.

– San Diego Union-Tribune

Amanda is magnificently and manically portrayed by Christa Scott-Reed.  Scott-Reed commands the stage as the neurotic bride and poet.

– San Diego Daily Transcript

As Jacqueline, Christa Scott-Reed gave a virtuoso performance, her nervous cascades of language, her Piaf-inspired songs…all very French, very sexy.

– San Diego Union-Tribune

Charming and effusive…Piaf-inspired.

– New York Times