Reviews and Awards
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A Seagull in the Hamptons Chris Jensen, SF Weekly, April 14, 2010 Mulholland turns in a memorable comic performance, interpreting Chekhov's diva as a boorish, downmarket version of '70s-era Elizabeth Taylor. | ||
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Emma Krasov, Art and Entertain Me, April 19, 2010
...performed...by a well-fitted troupe, with a central part rightfully belonging to Maria [Arkadina-Trepleva of the original] played by Trish Mulholland. Her every word, every gesture, every grimace; her sparkling blue eyes, her body language, even her unruly curls electrify the stage and exude the vibrancy of great acting, shared by the rest of the cast... | ||
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Mrs. Warren's Profession Chad Jones, Theater Dogs, March 2008 Mulholland, a Shotgun staple, always brings vivacity to the stage, but in Mrs. Warren, she has found new performance levels. She's tough, tender, sexy, funny and extremely grounded in the reality of her character. Her scenes with Jordan are the play's highlights because there's so much emotion. | ||
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The Devil's Disciple Suzanne Weiss, CultureVulture.net, 2008 Mom, played to the grumpy hilt by Trish Mulholland, is a real piece of work. A satire on the Puritan origins of the American colonies, she dominates the opening scene in high dudgeon, living up to her name. Then, fortunately, she kicks the bucket, sparing both her son and the audience from her never-ending complaint. Not to fault Mulholland who is an excellent complainer. | ||
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King Lear Denise Battista, The Shakespeare Review, May 2006 Of mention is Trish Mulholland, who plays a wonderfully wicked Goneril. Of all the cast, Mulholland most impressively speaks the speech, as her lines fall trippingly from the tongue. Her actions have clear motive, and she succeeds in connecting with the other actors on the stage. | ||
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The Chairs Robert Hurwitt, SF Chronicle, Feb 8, 2003 ...All the guests are invisible—with the exception of the orator the Old Man has engaged to articulate the brilliant ideas he can't find words to express (an excellent cameo in smug authority by Trish Mulholland). Real or imaginary, Oliver and Hiken bring the guests to life—as individuals and as a crowd... | ||
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Mother Courage Jack Tucker, Contra Costa Times, Aug 8, 2003 ...plaintive music: Henri Ducharme on accordion; Josh Pollock on "everything else" as the program adds in a typical Shotgun touch -- percussion, to be exact. And then the magic begins to appear and grow until it envelops this hidden glen. Trish Mulholland is magnificent in her earthy, bravura interpretation of Anna Fierling (Mother Courage). Leading an episodic gypsy life through several European countries during the Thirty Years War with two sons and a mute daughter... | ||
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Michael Scott Moore, SF Weekly, Aug 13, 2003 ...ended up with was not just a wicked political cartoon, but also a carcastic, full-blooded tragedy of a conflicted woman. The play speaks to any war. And Mulholland does a beautiful job of filling out Mother Courage's various possibilities: her grief, her wise-ass commentary, her scolding of children, her haggling over the price of a hen. Mulholland also has strong support from some... | ||
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The Bacchae Kerry Reid, East Bay Express, Dec 10, 1999 ...for those keeping score. But of course, being women, the Maenads make things messy—in a big way. The second act turns somber with the introduction of Pentheus' mother, Agave (the superb Trish Mulholland), who has led her group of Dionysian sisters in an attack on her son. Mulholland's performance is feral and gut-wrenching. | ||
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The Play about the Baby Robert Avila, SF Bay Guardian, Dec 4, 2002 ...sobering all the same, like a host who plies you with drinks just so he can lay into you with a few honest truths. Director Reid Davis revels in the approach, and his actors rise to the occasion. In particular, Mulholland twitches with a marvelously spastic comic energy, while James's deft turn as the serene sophisticate with a hint of malice exerts a gravitational pull that makes the... | ||
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Romeo and Juliet Chad Jones, Oakland Tribune, Sep 1, 1999 ...tackling the verse, but the key players have a firm grip on the language and several deliver standout performances. Trish Mulholland is great fun as Juliet's Nurse, the loving, occasionally lewd, interloper who helps arrange Juliet's clandestine marriage to Romeo. Whether she's gushing about what a good baby Juliet was or wailing over the corpse of her beloved charge, Mulholland wavers believable between silliness and compassion. | ||
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The Fairy's Tail Lisa Drostova, East Bay Express, Mar 27, 2002 ...the denizens of the Fart Swamp, or the family-squishing giant. And have I mentioned lately how crazy I am about Trish Mulholland? No? From what I've seen, Mulholland can do anything, whether she's covered in blood or a classic black and white housekeeper uniform. Here she's the ever-so-proper Mrs. Piffle, who, through an unfortunate incident with a box of knives, has managed to lose her employers and so agrees to join Little Missy What's-Her-Face on her... | ||
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Verdict Michael Scott Moore, SF Weekly, Dec 9, 1998 ...the morality here, and Verdict offers a taste of what Christie's critics meant when they charged her with failing to understand totalitarianism. But as a story, the play is a lot of fun. Trish Mulholland plays a brilliant charwoman, Mrs. Roper, full of cockney inflection and bug-eyed faces; Kevin Karrick plays a nicely understated Dr. Stoner, who at least as much as the beautiful... |