Press
“Ms. McCall lifts your spirits and breaks your heart with equal perfection.” – NY Magazine, John Simon
“Kathleen McCall dazzles us with a kinetic, quirky Dana, drowning herself in wine on her way down, finding a renewed passion for art during the vulnerable, rudderless void of recovery, and finally, recreating herself in the hybrid image of a talented and conflicted athlete-turned-artist.” – Variety, Bob Bows
“While Kathleen McCall has given many fine performances at the festival, this may be her best. Whether calling on the devil to “unsex” her so that she can kill without a woman’s weakness or wailing as her conscience finally catches up to her during a sleep-walk into madness, she is brilliant.” – Montgomery Advertiser, Rick Harmon
“Kathleen McCall is beautifully spirited as the young Lyuba.” – New York Post, Clive Barnes
“Despite the sedentary nature of the material, Ms. McCall gives an energetic and animated performance of the beautiful, young tour guide.” – The NY Times, Wilborn Hampton
“As Vivacity, the wonderful Kathleen McCall captures the twitchy energy, childlike voice and insatiable desire for adoration that’s the essence of her character, a chain-smoking, wasp-waisted alabaster beauty who is undone by her pathological neediness.” – The Atlanta-Journal Constitution, Wendell Brock
“Kathleen McCall’s Portia is a lovely and lively heiress with a quicksilver blend of wit and grace.” – Las Vegas Review-Journal, Carol Cling
“Kathleen McCall is incandescently vulnerable. She’s both girlish and serious, an effervescent young woman bound by a troubled marriage and unsatisfying job.” – NY Newsday
“In a tour-de-force performance, Kathleen McCall is riveting as Hermione. Small in stature, with translucent skin and penetrating brown eyes, Mccall’s youthful persona is eclipsed by a voice filled with wisdom and maturity. Her hands constantly offer clues to her perceptions: clutching the neckline of her gown, extending an upward palm, stroking the shoulder of an attendant – and in what surely will be the most heartfelt moment of the festival the embrace she provides her daughter.” – Salt Lake Tribune, Nancy Melich
“Kathleen McCall, who played Lyuba in the play’s American premier Off-Broadway, reprises the role here with great delicacy, charm and interior passion, revealing a lot more about this interesting young woman than one might gather from the script alone.” – Philadelphia Inquirer, Clifford Ridley
“Kathleen McCall shoulders the play with a giddy grace, romping across the stage with all the entitlement of youth and beauty. As the story progresses, however, McCall allows the audience to see Nora’s spirit become heavy with dismay, disillusionment and despair – until finally, she finds courage.” – Birmingham News, Mary Colurso
“Kathleen McCall’s performance as Brooke Wyeth can be summed up into one word – WOW. She owned the stage from beginning to end and was simply captivating to watch. Kathleen confronting the family in Act Two and taking a stand for herself was truly a master class.” – Broadway World, Michael Mulhern
“McCall’s Viola, while spirited, expertly massages the more subtle nuances of her uneasy mind and heart with a mix of dread and wonder, the latter accompanied by a well spring of emotion.” – The Event, David Pace
“Kathleen McCall made an unabashedly bawdy Kate in the raucous TAMING OF THE SHREW, and I was especially impressed with the revival of THE REAL THING. The direction placed the emphasis right where it belonged – on the heartfelt and affecting performances of Ms. McCall and Mr. Gregory.” – The Wall Street Journal, Terry Teachout
“Kathleen McCall’s Sorel is impulsive and irrepressible, a complete contrast to her Lucie in A Tale of Two Cities earlier this season.” – Private Eye Weekly, Barbara Bannon
“Kathleen McCall’s noodle headed gopher girl is about as distracting as the law allows. I am not necessarily complaining.” – Wilmington Daily News, Nels Nelson
“Kathleen McCall, as Mina, makes a St. Louis debut as powerful as it is pleasing.” – The Riverfront Times, Harry Weber
“Kathleen McCall is earnest and innocent as the ingenue Maggie, a stunning contrast to the poisonous Milady she just played in 3 Musketeers. A knockout actress, she gave a wicked performance as the spidery, unscrupulous Milady De Winter, as icy cool as her character’s name.” – Detroit News
“Kathleen McCall’s performance focuses the production where it belongs but too often isn’t: on Annie Sullivan. As Annie, Ms. McCall is varied and vibrant. She sparkles, Her every spare gesture sheds light on the character. In a superb moment where Annie avows of Helen, “I don’t even love her”, a small fist clutched, tapped against her breast denies the denial of love. This is a lovely, commanding performance. ” – Montgomery Advertiser, Allan Swafford
“As Karen, Kathleen McCall captures an earnest vacuousness. Bobby and Karen’s duet in act II, in which predator and prey are neatly flipped, is one of the two high points in David Kent’s production. Karen’s comeuppance is the other scene that crackles.” – The Boston Globe
“Kathleen McCall has full command of Beatrice’s complexities – equally strong as a cunning wit, scathing flirt or comic eavesdropper. Her interpretation is at times so imaginative and immediate that one is tempted to see this show again just to be there when she finds yet another insightful way to deliver a line or physically detail her character.” – Burlington Seven Days
“Kathleen McCall as Shelby, the diabetic daughter who gets pregnant against medical advice and pays a heavy price for it, shows the maturing of an impetuous, will full youth in a skillful portrayal of the indomitable human spirit.” – Press Journal, Michael Bogin
“Kathleen McCall is the embodiment of Hannah Jarvis. The veneer of Hannah’s icy exterior is often in danger of cracking. At each of these moments, she regains control and retreats to a place of relative safety. McCall brings to her character just the right combination of acerbic wit and self-protection.” – Montgomery Advertiser, Michael Howley
“McCall wraps the the blond effervescent Belinda in a tightly packaged persona of determined enthusiasm to keep the party fun, ordered, and on time. With a smile plastered on her bright face, appearing to be in all paces at all times, Belinda’s vulnerabilities of ignored loneliness shimmers underneath the always well-dressed facade. McCall nails Belinda to the wall with her smiling spirited party persona. Her biting tongue spiting out biting words under veneer of the pasted smile shows there is a completely different Belinda alive somewhere. McCall walks the inside/outside tightrope with delightful fun.” – Colorado Backstage, Holly Bartges
“Annie, played with great range, skill and intensity by Kathleen McCall, was riveting whenever she appeared.” – Westword, Juliet Wittman
“The Production of Horton Foote’s story about the power and endurance of love derives its absorbing intensity from the performances of Kathleen McCall and Rob Gomes. During the course of the action McCall transforms her character from a bright, cheery Southern newlywed into a far quieter, far more interesting woman able to face her own doubts.” – The News Journal, Bill Hayden
“If you’ve ever seen The Taming of the Shrew, you remember the tamed Katherine’s final speech, the one in which (at her husband, Petruchio’s, request), she exhorts the other women in the play — and, by extension, all women — to be obedient to their husbands. The speech is moving and eloquent and really, really hard for most of us to sit through these days. Directors and actors play all kinds of games to deal with the problem, but Kathleen McCall’s approach in this year’s Denver Center Theatre Company production was the best we’ve seen. She spoke the words sincerely, even choosing an unexpected recipient for one of the most telling passages — her father — and yet she never abased herself. This wild woman was clearly crazy for her equally wild husband, and she made us understand that any yielding of will was mutual. In her hands, this unpleasant passage became a heartfelt tribute to the transformative power of love.” – Westword, Juliet Wittman
“Kathleen McCall as the adult Scout, Jean Louise Finch, is enchanting and thoughtful, and excels at her craft. Her presence is subtle yet strong from scene to scene.” – Broadway World, Michael Mulhern
“Kathleen McCall is utterly convincing as Susy Hendrix, the blind housewife terrorized by thugs. She shines as Susy moves from dependence and vulnerability to fierce resourcefulness, self reliance and hard-won courage.” – The Columbus Dispatch, Michael Grossberg
“The leads are superb – expecially Ms. McCall as Katherine – fully fleshed out, real, relishing the thrust and parry of attempting to win love.” – Denver Post, Kurt Brighton
