KDHX Theatre Review - Yellowman
Reviewed by Richard Green

The greatest thing I can say about Yellowman is that I just want to sit here and feel this way as long as I can. [more...]

Ma Rainey's Black Bottom
Reviewed by Richard Connema

This marks the third time I have seen this August Wilson classic, the first being at the Cort Theatre in New York during the late fall of 1984 with Charles S. Dutton in the pivotal role of Levee and Theresa Merritt as Ma Rainey. The American Conservatory Theatre also did a great production several years ago. [more...]

Yellowman
Reviewed by Robert Boyd

The second play in this year’s Studio Series at the Repertory Theater of St. Louis is Yellowman, by Dael Orlandersmith. In her program notes, director Susan Gregg points out that Orlandersmith’s script is unconventional in structure... [more...]

Yellowman
Reviewed by Judith Newmark

Julia Pace Mitchell and Carsey Walker, Jr., both making their debuts at the Repertory Theatre of St. Louis in "Yellowman," give a couple of powerhouse performances. [more...]

Mac Awards Time - Jitney
Reviewed by Kathleen Allen

Best Actor... It must be presented to the ensemble cast of ATC's "Jitney,"... All but one was of the male persuasion. They are: James T. Alfred, James Craven, Abdul Salaam El Razzac, Bus Howard, Chuck Patterson, Jacinto Taras Riddick, Adolphus Ward and Brian Anthony Wilson. Julia Pace Mitchell was the lone woman. It was a powerful, painful, invigorating piece of theater, thanks largely to this stellar cast. [more...]

Stick-Fly
The New York Times

“Nuanced, edgy performances by the excellent cast!”

Stick-Fly
Music/Theater Review
by Donald Gilpin

“Ms. Mitchell…presents a high-energy, humorous, and strong figure… With her sharp, wry comic timing and her firmly grounded pragmatism, she provides a persuasive, powerful counterbalance to the high-brow, high-society pretensions”

Stick-Fly
Variety
Reviewed by Robert L. Daniels

“…"Flinty dialogue, crisply tailored performances and a plot laced with hidden secrets and shocking revelations… Mitchell comes in to her own in the play's final moments with a defiant plea for recognition and acceptance.” [more...]