what people are saying…
The Little Dog Laughed
The Tyro Theatre Critic:
Despite the best efforts of everyone, it's still Maeve Yore's Diane that rules. Yore doesn't present a caricature, she fleshes out this sharp-tongued Hollywood agent to create something almost demonic.
The Brooklyn Paper:
Diane (Maeve Yore) keeps you laughing until you realize she’s stuck a knife in your chest,
Dave Quinn for FIPS.Com
The big breakout here is Maeve Yore, who sinks her teeth into lean, brash Diane. It helps that the character is written well and spends the majority of the time performing long, hysterical, stand-up-esque monologues to the audience. When it was played on Broadway in 2006/7, Tony-winner Julie White made Diane a raucous, atrocious, and frenzied bitch. Yore pulls Diane back a smidge, and gives her more heart and humor, while still holding on to her sly wit and, well, brass balls. Diane both believes in the rules of Hollywood and riles against them. Yore portrays that inner struggle as effortless coolness.
Alex Cohen for Woman Around Town:
Maeve Yore (Harper Regan) is flat out terrific. There isn’t a moment we don’t thoroughly believe every word and move, some of which are neither logical nor anticipated. Yore’s focus/stage presence makes even silence compelling. Emotions and thoughts are practically visible. Yore may be worth the play.
Beatrice Williams-Rude for Theaterpizzazz.com
Maeve Yore is glorious as Harper showing the character’s many facets. In the scene in the hospital with grief therapist Justine Ross (wonderfully played by Megan Grace) these two not only reveal the inner workings of their characters, but give a sense of place—insular England. The audience burst into applause after this scene.
From Roberta on the Arts:
The first of four half-sisters is Maeve Yore, as Austin, the daughter who remained at home with her mother. Ms. Yore portrays this lonely, conflicted daughter, who is also gay, as many layered, cautious, and eventually the most mature. Her face is a study in well-kept secrets.
Yore is excellent as the writer, forced to watch her mother’s decline and become Mary’s unwilling confidante as she plans her suicide.
From Theatre Online:
Maeve Yore (Austin) displays a clearly observant, sarcastic writer, placating to her mother because of her own insecurities and her compassion. Yore eloquently exhibits the depression that plagues Austin through her slothful physical demeanor and her lethargic meandering.
From Martin Denton:
Maeve Yore anchors the drama and the family as the daughter who still lives at home, Austin, a successful writer in the middle of a fallow period.