BETWEEN THE BARS by Lynn Clay Byrne, direction by Benjamin Viertel
What other people say
Reviews by people that aren’t my mom.
Between the Bars - off-Broadway @Here Arts Center, NYC (2021)
It seems unfair to single out performances in such a great cast, but Juan Arturo & Katie Mack are electric as a two couples in very different relationships…extremely talented actors meld into the characters and bring each ones unique energy and outlooks.
Mack doubles as Sorrell and Eve, Zeke's put-upon girlfriend. The low-key anxiety of her physical and vocal performance conveys the dilemma of being between a rock and a hard place.
CABARET - IVORYTON PLAYHOUSE (2019)
Journal Inquirer by: Tim Leininger
The jewel of the production is the show’s star, Katie Mack, who plays the nihilistic British cabaret singer Sally Bowles. Mack is able to manage the delicate balance between Sally’s vapidity and the depth of a woman who is still scraping the bottom of the barrel for hope and love…Mack maintains a quality of seductive charm under her shallow mask through most of the show until her two genuinely honest moments. First, when she hopes beyond hope that there may be real love between her and her American lover Clifford Bradshaw (Andy Tighe) in the song “Maybe This Time” and second, when her being fractures in the title song.
Critics On The Aisle by: Don Church and Tony Schillaci
Ms. Mack creates Sally as an emotional firecracker with either defiance or heartbreak in every song that she sings. She brings a new longing to her interpretation of the torch song “Maybe This Time,” and in the second act is realistically distraught as she entices us with her powerful voice to come to the “Cabaret.” She personifies the true meaning of star quality.
Broadway World by: Andrew Beck
The diminutive Katie Mack makes for a delightful Sally Bowles, the rather undistinguished headliner of the Club. Mack's Sally is a genuine lost soul, finding solace and friendships among her fellow denizens of the club while embracing the sex and drugs that make the scene so appealing to her efforts to brush off her past and find some meaning in her perhaps misplaced dreams. She has an excellent voice to match her interpretation of Sally, especially on such familiar numbers as "Don't Tell Mama," "Maybe This Time" and of course the title tune.
Connecticut & The Berkshires by: Zander Opper
Katie Mack is equally good as Sally Bowles. With a large tattoo on her arm and an air of mystery, Mack is great with all of Sally's songs, especially the title number. She also brings wonderful freshness to the song "Maybe This Time": it is presented here as a rather desperate, but hopeful, inner monologue, with Mack making the number more powerful than I have ever seen before. There is a darkness in her portrayal that makes the character all the more complicated and riveting. {the character of} Cliff, has excellent chemistry with Mack's Sally.
CABARET by Kander/Ebb at IVORYTON PLAYHOUSE, directed by Todd Underwood (2019)
Richard III at LenFest Arts Center, directed by Nana Dakin (2018)
Richard III - Richard of Glouster (2018)
Front Row Center by: Raphael Badagliacca
Ambitious, intelligent, unafraid, obsessed, no stranger to cunning, undaunted by obstacles, possessed byeading others… what does it take to play the part of Richard III? And by what factor must we ratchet up each of these character traits in a woman who would take on the challenge of this role? Ask Mack who gives us a brilliant, treacherous Richard…
Katie Mack’s performance as Richard III must be given special praise. She appears in nearly every scene, and is magnetic in all of them: ranting and raving, laughing, threatening, weeping, screaming out for “A horse! A horse! My kingdom for a horse!” Her Richard is one of immense detail: constantly responding to the people around him; a genius at the sport of Kings; filled with childish glee whenever a scheme is executed well. I would wager that the success of any Richard III hinges on its titular performance, and Mack ably and tirelessly leads the show.
MORE REVIEWS—
“Katie Mack shines in a play that takes many surprising turns…The play, which Mack wrote herself, calls for an actress who can switch with quicksilver ease from physical comedy to naked anguish, from housebound housewife Skyping with her therapist to daring voyeur obsessed with the neighbors to a woman crushed by loss. It's a lot of emotional territory to cover, and one wonders, since Mack wrote the script herself, whether it would work as well with any other actor in the role. But when a performer's this good, why quibble?” -Tampa Fringe for Windows (2017)
“Kyle Boatwright, Katie Mack, and Larissa Marten round out the cast, each as comically high flying as the next.” -In The Spotlight Review for Boeing Boeing (2018)
“The show’s riffing Granny is especially delightful” -NYFringe Review for No Sympathy for the Wolf (2019)