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"Connie Castanzo has perfectly captured the role of Algernon Moncrieff, the glib and irreverent upper-class young man-about-town, who lies without compunction and for whom whom life is a series of carefree adventures as long as he suffers no ill consequences.  There is no mistaking the fact that Ms. Castanzo is a woman dressing and acting like a man – quite successfully.  But it doesn’t matter at all because she has captured the character so well."

--Donna Herman of Front Row Center for "The Importance of Being Earnest"

 

"There’s an undercurrent of outrageous hilarity running just below the surface, brought to life especially by Connie Castanzo as Cecily Cardew."

--Erin Kahn of Stage Buddy for "The Importance of Being Earnest"

"Castanzo's Cecily is a girl who wants desperately to be a sophisticated socialite, but doesn’t really know what that means, having never been in society herself. Animated and excitable, she’s charmingly quirky, and her zaniness renders her lovable--though also vastly amusing."

--Erin Kahn of Stage Buddy for "The Importance of Being Earnest"

"Most entrancing with her clipped veddy veddy vocalizing, leering and limber fluidity is Ms. Castanzo who consistently dominates here as Algernon."

--Darryl Reilly of Theatrescene.net for "The Importance of Being Earnest"

"The acting is solid throughout, but it all works because of Connie Castanzo as Mary and Sean Mellott as Arthur. Castanzo is a delight as the woman who realizes she wants more from life than she’s been offered.  Her transformation is gradual, honest and joyful."

--Bob Goepfert of WAMC Northeast Public Radio for "Miss Bennet: Christmas at Pemberley"

"Among the excellent cast, standouts include Castanzo as Mary, as the bespectacled, book-obsessed Mary Bennet"

--Steve Barnes of The Times Union for "Miss Bennet: Christmas at Pemberley"

"Castanzo and Mellott deliver thoroughly wonderful performances. As Arthur and Mary each clutch their books on Lamarck’s theory of acquired characteristics, we watch them acquire their own, growing- — humorously, nobly, sweetly — into young people ready to claim each other and the world at large. Castanzo’s hard, gleaming smile and Mellott’s crumpled face are ultimately transformed into looks of confidence and joy" 

--Paul Lamar of The Daily Gazette for "Mis Bennet: Christmas at Pemberley"

 

"Mary Bennet, is played wonderfully by Connie Castanzo. She [Mary] is not a heroine in the classic sense; she is too sharp and self-possessed for that. Watching her wax and wane in the romance that plays out is a perfect joy."

--J. Peter Bergman of The Berskshire Edge review for "Miss Bennet: Christmas at Pemberley"

"As Olivia, Connie Castanzo manages a lengthy monologue -- a mind-numbing cascade of adolescent trivia -- with considerable verve; it's a challenge that might humble a more experienced actress."

-- David Barbour of Light & Sound America review for "Diaspora"

"Connie Castanzo and Ian Antal star as the ill-fated young couple, bringing a youthful spirit of giddy flirtation, magnetic attraction, ardent devotion, and reckless passion to their juvenile characters, and evincing the all-consuming intensity of adolescence (the production’s recurrent sequences of the pair’s lengthy kisses are spot-on hilarious). Their iconic scenes are heartfelt and empathetic, embodying the life and depth of Shakespeare’s familiar words, effortlessly"

--Deb Miller of DC Metro Theatre Arts for "Romeo & Juliet"

"When it came to the kooky, Connie Castanzo nailed it as tech and trend obsessed Harriet. Castanzo’s timing allowed her to earn every single laugh. It was one of those performances that you couldn’t imagine anyone else doing as well."

--Michael Block of Theatre In The Now review for "Gideon"

 

“In the place of the boy who serves as Mr. Godot’s goatherd, we have Harriet (a radiant Connie Castanzo), Zoe and Aria’s vivacious, yoga-toned Disney Princess type of a neighbor"

--Lisa Huberman of New York Theatre review for "Gideon"

 

"Castanzo manages the rare feat of conveying both the comic and tragic sides of growing up: her naivete is by turns funny and touching.A natural comparison is to Audrey Hepburn, who originated the stage role of Gigi, but Castanzo’s performance goes beyond gamine intelligence.”                                                                                      

--Tara Izabella Burton of Litrony Magazine review for “Gigi”

 

“Exquisite revival of Anita Loos’ play version of the Colette novella has an enchanting Connie Castanzo in the title role.”

“Castanzo’s Gigi beautifully captures the young schoolgirl who does not yet know she is beautiful or the effect she has on men, as well as the young woman she turns into in the course of the play”                                       

--Victor Gluck of Theatrescene.net review of “Gigi”

 

“The shift in Connie Castanzo’s portrayal of Gigi—how the character goes from being essentially a child on stage to a sexually aware and emboldened young woman—is incredible to watch, yet it’s subtle and develops gradually.”                                                                           

--21st –Century Victorian review of “Gigi”

 

"Connie Castanzo is enchanting as Gigi, magically transforming a gawky adolescent into an elegant young woman."

-- Theatremania.com review of "Gigi"

 

"Especially noteworthy is Connie Castanzo’s brilliant portrayal of Julie Julia, a coquettish tomboy with a heart of gold who absolutely owns the second act."
--William Glenn of fringereview.co.uk review for "Some Are More Human"

"... Though short but seeming tallest of all, Castanzo keeps Celia ever in our conscious."
--Eric Minton of Shakespearences.com review for "As You Like It"

"The cast is sharp, and smartly assembled. Connie Castanzo, to whom I warmed instantly, affords Celia a quirky charm, making her a hopeless romantic and eternal optimist."
-- Anna Chazelle of Exuent Magazine for "As You Like It"

"The Italian bombshell airline hostess, Gabriella was delightfully played by Connie Castanzo. Her temper and passion were something to behold."
--P.O.V Theatre review for "Boeing Boeing"

"Connie Castanzo and John C. Nagy III play a more tumultuous twosome. All four are eminently believable as they succumb to ploys created by friend and foe."
-- The Queen's Courier review for "Much Ado About Nothing"

"Connie & Jimmy keeps your heart all aflutter but your feet on the ground."
--Broadwayworld.com "Connie & Jimmy" Press Release

"Connie Castanzo delivers a believable and sympathetic performance as a needy teen who is the only character who truly changes in the course of the play."
-- Pittsburgh Post-Gazett review for "Lost Boy Found in Whole Foods"

"As daughter Morgan, Connie Castanzo strives to balance the youthful know-it-all entitlement of high schoolers with vulnerable concern for what's happening to her parents' marriage."
-- Pittsburgh Tribune review for "Lost Boy Found in Whole Foods"

"All four actors deserve praise. As the daughter, who considers leaving school to become either an environmental terrorist or a Buddhist nun, Connie Castanzo is cute and infuriating, but not too much of either."
-- Pittsburgh Post-Gazett review for "A Confluence of Dreaming"

"Castanzo's first appearance on the stage as the frustrated-at-the-world Alex is so convincing as an actual teenager, most parents in the audience will have their teeth on edge at the familiar sounds and door slams of a hormonal morning battle."
--Eponymous Theatrical review for "A Confluence of Dreaming"

"As Antigone, Connie Castanzo blazes with teen-age passion."
--Pittsburgh City Paper review for "Antigone"

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