Press Quotes
For Catherine in Proof, 2005
"Whitney Cohen gave a performance that started quietly and became wonderfully rich, powerful, and textured....The remarkable thing was her ability to navigate the transitions so adroitly. They never seemed too abrupt or implausible....In total it was a rare performance from an actress who showed vast technical skill and a deep understanding of and affinity for the character." -- Robert M. Hallisey, EMACT Adjudicator
For The Who's Tommy, 2004
"The ensemble backing [Jake Simpson] is a powerhouse comprised of first rate local and regional talent." -- Will Stackman, theatermirror.com
"A uniformly good supporting cast... performs with polish and skill.... A real strength of Stoneham Theatre’s “Tommy” is the excellent balance struck between the six-piece band’s hard-rock edge and the ensemble’s powerful vocals." -- Jan Nargi, broadwayworld.com
"Pours out two hours of flowing MTV.... Exceptionally sung and danced by a large, energetic cast." -- Carl A. Rossi, theatermirror.com
For The Threepenny Opera, 2004
"Once again, artistic director Rick Lombardo has assembled a first-rate cast.... there hasn't been a better production anywhere in the area this season than 'Threepenny.'" -- Ed Siegel, the Boston Globe
"Lombardo and his phenomenal cast have used the intimacy of the New Rep's 150-seat theater to create a searing, shocking and satisfying production." -- Terry Byrne, the Boston Herald
"The ensemble is so strong and the production is so superb that 'The Threepenny Opera' should not be missed." -- Nick Dussault, the Boston Metro
For Nancy in Oliver!, 2003
"As Nancy, Whitney Cohen is perfect for the role... when she sings and dances, she makes you want to jump up and join her." -- Diane Sprung, Post & Courier
"There are several top-notch performances in this production; namely Whitney Cohen as Nancy, the prostitute, who, like Oliver, remains hopeful in spite of her past actions. Cohen has a marvelously clear singing voice and a spirited presence onstage." -- Jennifer Corley, the City Paper
"Among the others in the huge cast, I liked best Whitney Cohen's Nancy, tough and handsome and big-voiced." -- Robert Jones, Special to the Post & Courier
"Quite simply astounding. It is a world class production and easily one of the most exhilarating theater experiences I have ever had." -- Joyce Kulhawik, WBZ4 News
"Sweeney Todd as it was always meant to be." -- TalkinBroadway.com
"You will never hear or see a better production." -- Theater Mirror
For Madison in (and playwright for) Sweet Inverted Princess, 2003
"Whitney Cohen's one-woman play 'Sweet Inverted Princess' is an impressive foray.... She intellectually captured the very real dilemma of being an assertive woman, still longing for unconditional love.... The fears that Cohen openly admits are ones that are brutally important for every human to understand." -- Zoe Pollock, the Justice
For Nancy in Oliver!, 2002
"fine assistance from... Whitney Cohen as lovely, full-voiced Nancy." -- Norm Gross, PMP Network
For Agnes in George M!, 2002
"Whitney Cohen, as [George's] second wife Agnes, shines with the subtlest work of the evening when she 'auditions' singing Billie and one wishes the show allowed her more solo turns." -- Chris Harding, Dorchester Reporter
"The best voices in the show belong to Whitney Cohen and Jen Huth." -- David Brooks Andrews, Metrowest Daily News
For Aimable in The Trojan Women: A Love Story, 2002
"What many of the actors lacked in dimensionality was all but made up for by two very notable performances: The poignant and beautiful duet 'Calling All Angels' [Whitney Cohen and H. Heilman]." -- Anna Ichikawa, Brandeis Justice
For Kate in The Pirates of Penzance, 1998
"Kate and Edith were particular jewels in this ensemble setting. They used their voices, faces and bodies exceptionally well to clearly communicate every mood and change." -- EMACT Adjudicator
For Dinah Lord in The Philadelphia Story, 1997
"Whitney Cohen was a delight as Dinah.... charming and utterly free of more modern tones and attitudes.... she was always 'in the moment.' Her song was a hoot." -- EMACT Adjudicator
"Whitney Cohen's younger sister Dinah seems to have been understudying her older sis in order to make her own turn as bratty debutante even more socially shattering - and with much more style." -- Theater Mirror
For Hodel in Fiddler on the Roof, 1996
“Hodel lit up the stage with her smile. Her lovely voice, energy, and expressive face enhanced all her stage appearances.... 'Far From the Home [I Love]' was a high point and she was a stand-out in 'Matchmaker.'" -- EMACT Adjudicator
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