The Times (of London) - Article 'The Curtain goes up on Ken Russell's Mindgame'
A nice mention in Ken Russell's weekly diary
New York Times - Article 'Exploring the Bozo Mystique'
Amanda Barron was featured with the Clowns Ex Machina in an article written by April Dembosky.
Reviews:
Movin' Macbeth - HERE Soho
Review by Gwen Orel - TheatreScene.net
The following scene is the evening’s best. Lady Macbeth is one of the greatest roles in literature, and in Amanda Barron Avalon Theatre of e/motion has found a really dynamic and haunting dark queen. Tall, red-haired and striking, she is as strong an actress as she is a dancer.
Her Lady Macbeth resists the temptation to make the audience like her, the result being that we do anyway—her strength and joy in her own will are that seductive. She carries off the exultant, odd gestures in reading Macbeth’s letter stylishly and naturally.
Her incantation to the spirits to shake off her natural womanly aversion to cruelty... achieves the power of a demonic spell. The chanting repetition of “unsex me here” and the solo dance that follows are exciting and illuminating. This energetic, violent dance flows as naturally as any heroine from Rodgers and Hammerstein breaking into song because the emotion is too full for words.
…But [Amanda] Barron’s mad scene, when it does come, is enlightening—she chooses to portray not guilt but repression, a guilt so buried that when awake this Lady Macbeth would honestly deny its existence. This is a fascinating choice. Juxtaposed to the final battle, her madness is also haunting.
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Movin' Macbeth - HERE Soho
Review by ArteSix
Something wicked this way comes...it's Amanda Barron, who plays the juicy Lady Macbeth role as a blend of Norma Desmond meets Martha Graham. …It's not quite ballet. And it's not quite theatre. And it's not quite Shakespeare. But who cares, because this is one of the most colorful, weirdest takes on "the Scottish play" you'll see this season.
Shakespeare's shortest play and an apple are all it takes to get things rolling in e/Motion's theatre and dance adaptation of Shakespeare's gory classic. Bloody good.
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Hellmouth by Deborah Grimberg
NY Int. Fringe Fest.
Review by Joshua Tanzer – Offoffoff.com
The second play, "Hellmouth" packs the most punch. …and prim, nervous, conservatively dressed Alison (Amanda Barron), [is] not touching her bottle.
…one of several funny touches in this scene, but merely a preparation for the increasingly weighty revelations that are to come. And when they do come, they are very smoothly handled — not in stormy outbursts but in plain talk suited to a brother and sister who've already had this painful discussion before but need to give their old wound a little poke periodically. This is no dramatic showdown, just a very well-captured moment linking the past and future in two people's lives.
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A Silent Exchange by Peter Hilton
Greenwich Street Theatre
Review by Jade Esteban Estrada – OOBR.com
A Silent Exchange is a potent scene played out without an utterance from the actors. It’s 1910 in Prospect Park, Brooklyn. A female film director (Shenoy) tries to shoot a silent movie of Shakespeare’s Twelfth Night despite the unprofessional behavior of her main actors. Brewer played the celebrated actress and Silence played the action hero who would not be caught dead performing with her and refuses to perform. Brewer kept the laughs coming by transforming every sword fight scene into a Charleston. Barron did a great job of playing the straight man to the audience in the appropriate style of the day.
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