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On ELECTRA:

“But on the surface, “Electra” is about Electra, played by Catherine Eaton with single-minded ferocity, whether lamenting, plotting or celebrating… Ms. Eaton makes neurosis both frightening and compelling as she plummets toward her goal. She creates the archetype of the slave princess, just waiting for her prince (or brother) to set her free. She dramatizes the ferocity of the family drama, in contrast to which affairs of state seem pallid. Her loyalty is heroic. And embodied by Ms. Eaton, her obsession seems almost spiritual. She is a theatrical force.”
– Christopher Rawson, Pittsburgh Post

“Clytemnestra, Chrysothemis, Electra and the women of Mycenae each argue from positions of reason, logic and emotion. But you can’t help but admire actress Catherine Eaton’s impassioned, visceral, go-for-broke interpretation of Electra. Her grief is as raw as though her losses happened yesterday, and her lust for revenge is as sharp and dark as obsidian.”
– Alice T. Carter, Pittsburgh Tribune

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On REPARATION:

“Catherine Eaton, however, firmly copes with the play’s flightiest figure, decisively portraying the mercurial Chrissy’s extreme swings in behavior.”
– Christopher Sommers, NY Times

“As Chrissy, the excellent Catherine Eaton seethes so well that the blueprints on her desk run the risk of catching fire. Chrissy drinks bourbon and Eaton makes her voice sound as if she’s spent a fifth of her life drinking a fifth a day. Yet Eaton makes Chrissy human. She remembers her father’s final words on his deathbed: “What he most wished for me is luck.” At Saturday evening’s performance, more than one audience member’s head nodded in sober agreement.”
– Peter Filichia, The Star-Ledger

On CORSETLESS:

“Eaton’s show is a most rare vision indeed, full of raw passion, longing, tragic humor and unfiltered humanity.”
– Colin Dabkowski, Buffalo News

A tour de force performance would seem to be the whole point of Corsetless, and that is what this one-woman play, written and performed by Catherine Eaton, delivers. Actresses like Cornelia Otis Skinner and Vinette Carroll made their careers on [performances of this kind]…Like them, Eaton is a remarkably charismatic actress and a born leading lady. She navigates Shakespeare’s language with stylish ease and ekes delightfully unexpected moments of humor from some of his most famous lines…
– Anthony Chase, ARTVOICE

On MOON FOR THE MISBEGOTTEN:

“Eaton’s looks and composure far outshine O’Neill’s buxom description of her character, but suspending disbelief at her brazen nature is easily done and rewarded tenfold with a strong, assured and valiant performance. Her swagger and voice alone — not to start on what she says with it — are enough to make the most tyrannical father quake in his boots.”
– Colin Dabkowski, Buffalo News

In a previous season with the Irish Classical Theatre, Miss Eaton, who makes her home in New York City, distinguished herself with a remarkable performance in Bryan Delaney’s play, The Cobbler, and was recognized with a Katharine Cornell award for her effort. Here she imbues Josie with equal doses of spirit and motherly compassion in a superb rendering of the role.
– Anthony Chase, ARTVOICE

On CLOCKS AND WHISTLES:

“Catherine Eaton was wholly believable as Caroline, a tough-talking sculptor and neighbor of Trevor…”
– Andrea Stevens, The New York Times

“…jaded diffidence…played with impressive nuance by Catherine Eaton.”
– Andy Propst, Backstage

On A CHILD’S GUIDE TO INNOCENCE:“

….its three actresses telling a sublime intergenerational tale beautifully. At the center of it is Catherine Eaton as Frances…a harrowing, heartbreaking performance by Ms. Eaton.”
– Neil Genzllinger, The New York Times

“Eaton, onstage for every moment of this production, fixes her pale blues toward the audience and simply conjures. …as “unstuck in time” as Kurt Vonnegut’s Billy Pilgrim, with the Great War every bit as much at the center of her being.”
– Tom Chesek, Asbury Park Press

“Eaton…astoundingly changes from young woman to matron to elderly without altering makeup or costume, but by sheer strength of performance.”
– Madeline Schulman, The Link News

On THE COBBLER:

“The acid-toungued but deeply passionate Lily…played magnificently by Catherine Eaton…the beleaguered Lily was brilliantly portrayed by Eaton. This fine actor impressively carried her character…effortlessly from the first-act banter to the anguish of the later scenes.”
– Richard Huntington, Buffalo Daily News

“Catherine Eaton is especially winning as Lily, giving the woman great complexity and wide emotional range. Her performance anchors the proceedings, and her character emerges as the play’s emotional center.
– Anthony Chase, Artvoice

On COMEDY OF ERRORS:

“Catherine Eaton as Adriana…beautifully vents torrents of rage over slights to her sexuality. Undulating her silhouetted body against the twilight sky, Eaton’s Adriana is a powerhouse, daring you to deny her twice.”
– Steve Parks, Newsday

“Eaton found a fantastic balance of vamp, shrew and loving wife; and was just plain wonderfully funny.”
– Mariah Quinn, East Hampton Independent


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