THE GLASS MENAGERIE
Lisa recently starred as Amanda
in The Glass Menagerie by Tennessee Williams at The Colony Theatre in Burbank,
brilliant Jessica Kubzansky directed.
the original Amanda in 1945
the new Amanda now in 2006
L.A. Weekly - RECOMMENDED! GO!
"Within minutes, LISA PELIKAN MAKES THE ROLE OF
AMANDA WINGFIELD HER OWN, rising to the challenge of creating an identity
different from that of the legendary Laurette Taylor's in the original
production of this Tennessee Williams play. Pelikan savors the baroque Southern
language and plays out her pretensions as passionately as she does her powerful,
smothering love for her children."
Glendale News Press -
"A TOP-NOTCH CAST and crew bring only their best to the Colony Theatre
Company's production of "The Glass Menagerie," breathing fresh life
into Tennessee Williams' well-worn classic."
Back Stage West -
... Also working beautifully ... are the tender moments: when Amanda is alone
and PELIKAN LETS EXQUISITE RAW SADNESS OVERWHELM HERSELF
... it's the truth that affects the audience every time."
L.A. Times - CRITICS
REVIVAL" ... The players, whom Kubzansky casts for quality over type, reward her — and
Williams — by gripping the house ... Pelikan's
Amanda will be CONTROVERSIAL!
heroic Lisa Pelikan BRILLIANTLY CONVEYS the 'little woman of great but confused
vitality' whom Williams requests... HER TECHNIQUE IS IMPECCABLE ... VIVID!
quirky, absorbing Colony Theatre revival of Tennessee Williams' deathless memory
play may inspire debate. Director Jessica Kubzansky has audacious tricks in her
pocket that recast truth and illusion. Even so, players Louis Lotorto, Lisa
Pelikan, Mandy Freund and Johnathan McClain grip the house, with a haunting
"A POIGNANT AND STUNNING REVIVAL! ... Amanda
(THE BRILLIANT LISA PELIKAN), an aggressive belle of the Old South, complete
with all the gestures and attitudes that make her hectoring and heroic at the
same time ... ANGUISHED, LOVING AND HEROIC."
For fun, you might want to
check out this interview with Lisa - RetroCrush.
Lisa recently received rave reviews for her "brilliant comic timing"
in ACCOMPLICE at the Colony Theatre. Scroll down and read the wonderful
L.A. Times -
RICH, SATISFYING BLEND OF COMEDY AND SUSPENSE! ...
"'Accomplice's' rapid-fire high point ... the
comically insistent [Lisa] Pelikan — aptly named here, as she scoops up swaths
of scenery in her finely set mouth — effortlessly usher this mounting exchange
into farcical territory... a stunning, petite redhead... her best moment is one
of queenly delicacy, as she takes her sweet time getting into position for a
scene while her fellow actors dutifully wait."
ReviewPlays.com, 2/25/05 ...
" ... and especially Lisa Pelikan, who can somehow
conjure the delivery of both Lauren Bacall and Lucille Ball at one time
... There’s not much that could be written about Accomplice without giving
away the breakneck twists and turns of the plotline, except to say that, unlike
the work of dear Ms. Christie, this one revolves as much around sex (and
Pelikan’s nicely distracting gams) as murderous intentions.
" ... a mystery that spoofs the genre ... SLICKLY CONSTRUCTED by Edgar
Award winner Rupert Holmes ... STYLISH PORTRAYALS lend zip to backstage barbs
and Noel Coward-ish witticisms ... Lisa Pelikan isn't
afraid to layer her personalities with a tart, nasty edge. She's at her best
in a noisily sexual encounter under a blanket with Boehmer ... When Pelikan
plans to poison Cedar and he stubbornly refuses to accept the drink she offers
him, the bit is hilarious."
Back Stage West - CRITIC'S PICK! -
Levy does an admirable job of keeping the myriad red herrings swimming in
theright directions, and he reaps the benefits from an adept cast... [Lisa]
Pelikan nails the tone of her character perfectly and squeezes maximum value
from each comic line."
Daily News - *** (3 stars!) -
MYSTERY LOVES YOUR COMPANY IN 'ACCOMPLICE'! ...
Simon Levy's production at the Colony has four performers
who are enthusiastically game for the Ira Levin-meets-Noel Coward style of
performance Holmes' play calls for... Lisa Pelikan vamps
and schemes with dipsomaniacal gusto as the plotting wife."
"A GENUINE CROWD-PLEASER!!! ...
Written by clever wordsmith Rupert Holmes, 'Accomplice' is one-half A DELIGHTFUL
PARODY of the British whodunit mystery thriller and one-half broad comic farce
... the cast at the
Colony is savvy, willing and accomplished... the talented J. Paul Boehmer ... the
lovely Lisa Pelikan ... the droll and outstanding Larry Cedar ... sexy
airhead Samantha Raddock... [this] 'Accomplice' has enough plot misdirections to
SATISFY EVEN THE MOST ARDENT MYSTERY THRILLER DEVOTEE."
Tolucan Times -
BLOODY GOOD FUN! ...
Levy’s fast-paced, skilled and fun-loving direction guides his fine cast of
four actors, inspiring razor sharp, brilliantly over the top performances
throughout ... THE PERFORMANCES
ARE ALL TOP-NOTCH, AND THE COMEDIC TIMING BETWEEN THIS QUIRKY QUARTET IS
IMPECCABLE! Lisa Pelikan (Erica), J. Paul Boehmer
(John), Larry Cedar
(Derek) and Samantha Raddock (Melinda) are perfectly cast in these roles and
seem to have a ball playing them."
"Rupert Holmes' DEFT, DAFFY, COMPLEX COMEDY OF TERRORS which is given the
SPIFFY PRODUCTION it deserves by the Colony Theatre. There are twists and turns
in every scene and this is a cast that knows how to slither through them ... Lisa
Pelikan is deliciously lethal."
NoHoLA - ****RECOMMENDED! -
"You will have a wonderful theater experience with lots of laughs with four
very accomplished 'accomplices' ... LISA PELIKAN IS A
BEAUTIFULLY VERSATILE ACTRESS WHO CAN CONVINCE WITH THE MOST SUBTLE LOOK OR
GESTURE. Larry Cedar, J. Paul Boehmer and Samantha Raddock are equally
gifted, making a classy quartet of actors! Simon Levy's accomplished directorial
hand guides a TOPNOTCH EVENING IN THE THEATRE."
Burbank Leader -
"Cleverly directed by Simon Levy, the actors take us for a ride through a
play within a play within a play, twisting the plot in wholly unexpected ways
... LISA PELIKAN shows brilliant comic timing by injecting
silly body moves and hilarious facial expressions at just the right moment ...
a funny and clever mystery with more twists and turns than a game of
Tolucan Times/Canyon Crier -
"This zany British whodunit, written by Rupert Holmes with riotous upper class
English humor and more twists ‘n’ turns than a roller coaster is bloody good
fun! On a detailed, beautifully creative set designed by the incomparable Desma
Murphy, we are in a lovely Moorland vacation cottage in the ‘70s. Shon Le
Blanc’s playfully attractive costumes, Kathi O’Donohue’s lighting and Drew
Dalzell’s sound perfectly set the mood for the outrageous shenanigans to come.
Talk about a superstar design team! Simon Levy’s fast-paced, skilled and
fun-loving direction guides his fine cast of four actors, inspiring razor sharp,
brilliantly over the top performances throughout.
Why, you ask, am I covering the
technical efforts before mentioning the actors or revealing the plotline? I’ll
tell you why. There are so many wacky surprises and unpredictable switcheroos in
this play that it would
totally spoil your fun if I talked about them. I’m at a bit of a loss of
words. I can tell you that this comedic murder mystery thriller is a rousing
delight full of madcap antics that will keep you guessing until final curtain.
This is shocking, ingenious, sexy, sassy, stuffy and screamingly funny in turns.
You spend the whole time trying to figure out who is the culprit, who is the
victim, who is sleeping with whom ... and why? The moment you think you’ve got
it, it all changes again. Devilishly clever and deliciously naughty, I was
It involves two wealthy out-of-town
couples with hidden agendas and sordid secrets, as each outwit the others (and
The performances are all top-notch,
and the comedic timing between this quirky quartet is impeccable! Lisa Pelikan
(Erica), J. Paul Boehmer (John), Larry Cedar (Derek) and Samantha Raddock
(Melinda) are perfectly cast in these roles and seem to have a ball playing
them. I wish I could tell you more, but I dare not. Do catch this one. It’s
good medicine for whatever ails you!
Running at the Colony Theatre (a
beautiful theatre space) located at 555 North Third St. in Burbank through March
13. For seats and times, call (818) 558-7000.
Daisy in The Dreamtime
Aboriginal sin: Anthony J. Haney and Lisa Pelikan
in Daisy in the Dreamtime.
Lisa Pelikan's Daisy in the Dreamtime Reviews
The Los Angeles Times (3/25/04)
By Philip Brandes
Aboriginal nightmare in 'Dreamtime'
**** Critics Choice ****
The enormity of the tragedy inflicted on Australia's Aborigines during the early 20th century hits home with stunning impact in "Daisy in the Dreamtime," the
final installment in the 2003-04
Hot Properties series at
the Ford Amphitheatre's indoor space.
Under Simon Levy's savvy direction, this Fountain Theatre production infuses
history with visceral urgency in Lynne Kaufman's cautionary drama based on the
true story of Daisy Mae Bates. A feisty Irishwoman who abandoned her family (and
all the creature comforts of civilization), Bates spent 30-plus years living in
a tent among the Aborigines, gaining their trust and trying to shield them from
the corrosive influence of progress. As Daisy, the riveting Lisa Pelikan evokes
a complex, finely nuanced portrait of the amateur anthropologist-turned-crusader
who roamed the punishing outback in her prim Edwardian garb. Daisy's
uncompromising resolve is depicted in both her steadfast loyalty to a local
tribesman, ironically named King Billy (Anthony J. Haney), and her steely
opposition to a missionary (Suanne Spoke) who is bent on converting the
Aborigines to more socially respectable behavior.
Although celebrating Bates' life is one of Kaufman's principal goals, the
personal history that led her to the outback is saddled with the fragmentary
dialogue and exposition that too many modern plays use in place of fully
developed characters hashing things out.
Pelikan and the supporting cast (Lance Guest, Jay Bell and Eve Brenner)
consistently impress with their ability to work with one- or two-sentence
snippets. It's Haney's masterful turn as King Billy, however, that
supplies the show's heart and soul. A gregarious bear of a man who embraces her
as the "Great White Queen of the Never-Never," the homeless Billy is a
paradox by civilized standards. "A child but a wise child," Daisy
calls him, as he pokes fun at the Western culture of "Thou shalt not,"
and initiates her into Aboriginal "Dreamtime" (the archetypal, extra-temporal reality at the root of all
Through evocative lighting, scenic design and the eerie didgeridoo music played
by Andrju Werderitsch, Levy makes this a felt world rather than an intellectual
concept, which makes the Aborigines' fate all the more poignant.
Despite Daisy's best efforts, she failed to prevent the corruption of her
adopted people, and Pelikan illuminates the full depths of her rage, passion and
not-inconsiderable hubris. At a government conference, her plea for funding
to create a protected reservation for Aborigines aches not only with concern for
them, but also with her naive delusion that their welfare would be a
self-evident priority for her audience.
Daisy faced a hard lesson in cultural arrogance, to be sure, but we can take
solace in the fact that the near extinction of a noble indigenous population is
a travesty that could only occur on some other remote continent.
Backstage West - (3/24/04 -
Reviewed by Laura Weinert
**** Critics Pick ****
There are plays that teach us much about a subject, there are plays that move us deeply, and there are plays that nimbly achieve both.
But rarely do we find a play like Lynne Kaufman's Daisy in the Dreamtime, which richly satisfies these two hungers and also achieves something nearly impossible:
providing us with an invaluable key into a world that seems permanently sealed off to us by the very structure of our minds.
Despite having the longest continuous cultural
history of any group on earth (stretching possibly 65,000 years), the Australian
Aborigines have a worldview that is still only partially understood by
anthropologists. How indeed can clock-checking Westerners even begin to grasp an
understanding of reality that weaves past, present, and future into one
"dreamtime," where spirits and ancestors are present not just
everywhere but "every when." Yet with this ambitious production, all
elements combine to bid us entry into this world: a uniformly stellar
Simon Levy's inspired direction; Desma Murphy's magical desert set gorgeously
lit by Kathi O'Donohue, making use of projected Aboriginal art so beautiful as
to be otherworldly; onstage didgeridoo player Andjru Werderitsch; choreography
by Jamal; and the consulting expertise of Aborigine descendant
Lewis Burns. Kaufman's play tells the remarkable story of Irish-born Daisy May
Bates (played by an infectiously brave, enthusiastic Lisa Pelikan), a woman who
abandoned her family to spend 30 years living amid the Aborigines in a tent,
studiously recording their customs, languages, and ceremonies. Over time, she
grows so passionate and paternal about them that she sets out to be the
"official protector" against what she sees "her" people
facing: the threat of
cultural extinction. This era (1866-1951) was indeed a time in which Aborigines
suffered a government so bent on "civilizing"' them that it felt the
need to confiscate their children and take their land, directly and indirectly
transforming a large number of them into beggars, prostitutes, and drunks. Bates
immediately locks horns with the newly arrived Lutheran missionary, Annie Lock
(a determined yet movingly human Suanne Spoke), who has come to spread the
gospel as well as the comforts of "civilization": quinine, shelter,
food, clothing. Despite their competing purposes, early on we see that these two
are cut from the same cloth--both are single, white middle-aged woman who have
crossed the globe to "save what isn't theirs." The cornerstone
of this production is the extraordinary performance of Anthony J. Haney in the
role of King Billy, the only Aborigine we meet onstage. Whether describing the
Aboriginal view of conception, performing a
ceremonial dance, or teaching us how to catch a kangaroo, Haney offers a
magnetic, unpatronizing turn, his infectious laughter revealing a personality so
intriguingly free of the insidious doubt that seems like such a common piece of
the modern psyche. Tragic and perhaps a little too tidily concluded, this
play does not raise a new topic in asserting that "progress" of a
certain kind is unstoppable. It does, however, speak knowledgeably and
eloquently about its cost.
The Daily Variety - (3/24/04)
By Julio Martinez
The facts behind the stranger-than-fiction history of Irish
lass-turned-Australian Outback wonder woman Daisy Bates (1863-1951) are much
more compelling than scripter Lynne Kaufman's overly simplified survey of Bates'
life. In her attempt to consolidate the many thematic tributaries in Bates'
life, Kaufman actually lessens the impact of her lifelong efforts to save her
beloved Aborigines from the genocidal contamination of Western civilization.
More effective in this Fountain Theatre preem are Helmet Simon Levy's intuitive
staging, Lisa Pelikan's transcendent portrayal in the title
role, an outstanding
supporting cast and the hauntingly evocative, synergistic production designs of
Desma Murphy (sets), Kathi O'Donohue (lights), David B. Marling (sound), Naila
Aladdin-Sanders (costumes) and Marc Rosenthal (multimedia).
Kaufman utilizes Daisy (Pelikan) as narrator, looking back
with twinkle-eyed irreverence at a life highlighted by the 30-plus years she
spent living in her tent in the outback among the Aborigines. Various
characters from her life flow in and out of focus, chronicling her adventures
from her childhood in County Tipperary, Ireland, to her spiritual visage
commenting on the honors heaped upon her at her death in 1951.
The scripter never quite finds the right balance of focus as Kaufman
unsuccessfully attempts to capture both the panoramic sweep of Daisy's life and
the mystical essence of "Dreamtime," the spiritual force that explains
the origins and culture of Aborigines and their land.
Daisy's interactions with such characters as her nurturing
Irish Grandma Hunt (Eve Brenner), macho wild-horse drover husband John Bates
(Lance Guest), anxious-to-please German nun Annie Lock (Suanne Spoke) and
self-important pendant Radcliffe-Brown (Jay Bell) offer tantalizing character
interactions but provide less than illuminating insight into Daisy herself.
What does work to perfection is Daisy's ongoing synergistic
relationship with her friend King Billy (Anthony J. Haney), a charismatic native
who proves to be Daisy's human Rosetta stone, providing access into the wonders
of Aboriginal life. Haney's Billy is a radiant soul; it is easy to believe Daisy
would find constant enrichment in a community that reflects King Billy's
exuberant love of life and deep insight into the spiritual essence of his
The timeless aura of "Dreamtime" is evoked by King Billy's captivating
reveries, complemented by the sumptuous, interdependent designs of the
The most haunting contribution is provided by the onstage artistry of didgeridoo
player Andrju Werderitsch. As he manipulates what may be the oldest musical
instrument in human history, Werderitsch provides a primal undercurrent to the
proceedings that does more to give veracity to Daisy's tenacious love of
"her people" than Kaufman's text can explain.
KABC Radio - Adventure in the Desert
by Cynthia Citron
To the Australian
aborigine the "Dreamtime" is "the time before time."
From the dreamtime come all the creation stories, the story of the land, and of
the animals, and of The Law. It is where you were before you were born,
and where you will go when you die.
The people of the desert became "my people" to an Irish-born woman
named Daisy Bates, who lived with them for 30 years, from 1902, and chronicled
their stories, their language, their way of life, their medicines, and their
interactions with the spirits who dwelt among them.
In a powerful new play by Lynne Kaufman, "Daisy in the Dreamtime,"
Daisy Bates is brought to life by Lisa Pelikan, as she tells her history from
the spare tent she lived in for all those years. She is aided by King
Billy (Anthony J. Haney), an aborigine in a loincloth who tells her the stories
and performs the spirit dances. And always, in the background, there is
the haunting twang of the didjeridu, played by Andrju Werderitsch, who sits
nearly immobile on an outcrop in the background, balancing this long musical
instrument with the ball of his foot.
Daisy Bates was known as Kabbarli (grandmother) to "her" people, but
she preferred to translate that tribal name as "great white queen of the
Never Never." It was a small indication of the condescension
she felt for the people, even while admiring their simplicity. She was
fascinated by their sense of time: they called themselves the "people of
the dream" and the white people "the people of the clock."
For the aborigine, she discovered, the past, present and future are all one, and
the spirits around them control the outcomes of all their actions. And
"God is everywhere and everywhen."
Working on a stage covered with deep red sand and not much else, Pelikan conveys
her heroine's quirky personality, the solitude and isolation of the Australian
desert, and the difficult life that Daisy endured for so many years.
Although she had married and birthed a son, she abandoned both her husband and
child to make her life among her people. But she never abandoned her full
Victorian skirts and shirtwaists, her brimmed hat, and the umbrella given to her
as a child by the Queen.
To her dismay, Daisy lived to see the "black snake"---the
railroad---encroach upon her people's land, desecrating the territory, defiling
sacred places, and turning the aborigines into vagabonds in shabby western
clothes, filled with liquor and disease and bereft of their heritage. It
was the same scenario that had been enacted in America a few decades earlier, as
western-traveling pioneers confiscated the land of the Indian peoples.
Among Daisy's other nemeses was the church, in the form of Annie Lock (Suanne
Spoke), a missionary who came to bring religion to the aborigines.
"It's wonderful," King Billy tells Daisy. "You just say
'Thank you, Jesus' and you get a bellyful of food!"
It's a sad but courageous story, and one that evokes the controversy between
the potential benefits of progress and the desire to retain the old ways and
traditions. But it is always a losing battle. Once progress is
introduced by a powerful new group, the old ways don't have a prayer in hell.
And Daisy knows this and is left to lament what has been lost.
"Daisy in the Dreamtime" will be performed through April 25th at
the (Inside) the Ford Theatre. It's a co-production with the Fountain
Theater, and is superbly directed, as usual, by The Fountain's Simon Levy, who
directed last year's marvelous "Going to St. Ives" and this year's
"Master Class." The setting is beautifully conceived by Desma
Murphy and lit as bright as a blistering desert sun by Kathi O'Donohue.
I think everyone will enjoy the story of Daisy Bates. But it's worth going
to see this production if only to listen to the didjeridu. It makes as
hair-raising a sound as the blowing of the shofar at the end of Yom Kippur.
The Internet Theater Magazine of Reviews, Features,
www.curtainup.com - (4/7/04)
Daisy in the Dreamland. This beautifully mounted production is rich on content
but poor in drama. Monologues by Daisy Bates, an Irish
woman who lived for 30 years with Australian aborigines, are mesmerizingly
delivered by Lisa Pelikan. For me, what distinguishes Kaufman's play from
others of its ilk that expose the colonial exploitation of a native culture is
the time and depth given to the aborigines' beliefs and folk tales.
The more dramatic second act brings Daisy to Adelaide where she tries
unsuccessfully to persuade Parliament to leave the aborigines in peace. Simon
Levy's powerful stage imagery reinforces the dreamtime that enchants Daisy. He
teases vivid performances out of an excellent cast, highlighted by Anthony J.
Haney as King Billy; Suanne Spoke is bustling and devout; beautiful Eve Brenner
holds the stage in her dual roles as Grandma Hunt and Queen Victoria; Lance
Guest is dashingly mustachioed as Daisy's second husband Jack Bates (too bad
they didn't include her first husband, Breaker Morant); Jay Bell, is an
exuberantly pompous Radclife-Brown; and tAndjru Werderitsch makes dreamtime come
true with his skill on the ancient aboriginal wind instrument, the didjeridu. Ultimately
this is Lisa Pelikan's play. She projects Irish passion, stubbornness and a faith that blurs the lines of organized religion in a doomed and heart-felt effort to blend
with and protect the Dreamtime. This Fountain
Theatre production is the final selection in The Hot Properties series, whose
mandate is to produce new plays by Los Angeles-based theatre companies. At
Inside The Ford, 2580 Cahuenga Blvd, Hollywodo, Phone: (323) 461-3673, March
11-April 25, 2004.
The Tolucan Times - (3/24/04)
Daisy in the Dreamtime – This is a powerful,
mesmerizingly beautiful story that will linger in the hearts and minds of all
who see it, long after closing curtain. Flawlessly presented by The Fountain
Theatre group, it tells the gripping true tale of Daisy Bates, a remarkably
independent woman. In 1913, this amazing Irish woman, fed-up with a
materialistic world, left civilization behind, and headed for the outback in
Australia. The first female ever to do so, she pitched a tent and lived a
solitary life with the spiritual aborigines for more than 30 years. Studying
their customs and beliefs,
single-handedly fighting for their rights and entering their
“dreamtime,” became her passionate life’s mission. Written with heart,
sensitivity and years of research by Lynne Kaufman, this audience was captivated
Highly-acclaimed director Simon Levy, long enthralled with the aboriginal
culture, has masterfully crafted and staged a stunning production, guiding his
entire cast to gut-wrenching performances. I’m sure this year there will be
theatre nominations here. Lisa Pelikan is absolutely brilliant in the
challenging and dedicated role of Daisy Bates! Feisty, strong and endearing in
turns, with so much dialogue, (she is never offstage) this is a triumphant
performance. Wonderfully hypnotic and heartfelt portrayal by Anthony J.
Haney as King Billy, Daisy’s closest aboriginal friend and confidant. In
pivotal, important supporting roles, a quartet of impressive performances were
handled by Lance Guest as Daisy’s Aussie ex-husband, Suanne Spoke as Annie
fanatical German missionary, Eve Brenner as Grandma Hunt, and Jay Bell as
From the opening moment when haunting onstage musician, Andrju Werderitsch blows
into his didjeridu, (an ancient Australian five-foot. long percussion/wind
instrument) perched on a rock on Desma Murphy’s eerie and gorgeous
outback set, we are drawn into a “dreamtime” of our own. Rounding out the splendor is: the pulsating sound design of David B. Marling,
the moody lighting of Kathi O’Donohue, the wonderful costuming of Naila
Aladdin-Sanders, and the multi-media genius of Marc Rosenthal.
"Daisy in the Dreamtime" Interviews
The cast of Communicating Doors
Lisa Pelikan's "Communicating Doors"
Union Jack - America's Only National British Newspaper
"Lisa Pelikan's Ruella is a feisty, true blue English woman possessed of
steel knickers and an iron will, and she keeps the plot kettle boiling at full
steam in a beautifully ranged performance."
L.A. Weekly (8/16-22/02)
"Pelikan's Maggy Smith-like maternal Ruella is a delight ... Pelikan ... is
tragically funny and humorously sad."
"Fortunately Pelikan's Ruella gives the situation a potent charge ... with
class, charisma and charm."
Daily News (8/23/02)
"Pelikan - in an homage to Dame Maggy Smith - is delightful."
Backstage West (8/15/02)
"... the excellent Lisa Pelikan ... looks like a finely crafted Lladro
figuerine, a delicate flower, but Pelikan is Maggy Smith in miniature and Ruella
is a warrior spirit."
Malibu Times (8/29/02)
"Standing out is Lisa Pelikan ... Hollywood should snatch her up."
American Radio Network, Gerri Garner's Entertainment File
"Lisa Pelikan is brilliant as Ruella."
Hollywood Reporter (8/6-12/02)
"Lisa Pelikan is engaging and wonderful."
L.A. Times (8/9/02)
"The greatest enjoyment comes from ... Pelikan's sisterly, shrewd Ruella."
The Beverly Hills Outlook (9/02)
"... a fast paced, funny, would-be murder mystery. It's a story
tastefully done, brilliantly acted by all concerned, and entirely credible in
its own impossible way. A thoroughly enjoyable, brain-twisting treat!
Total credit must be given to director Barry Phillips and a first-rate cast,
especially Lisa Pelikan as Ruella."
Only A Broken String Of Pearls
Lisa Pelikan's "Only A String of Pearls" Reviews
Los Angeles Times
Pelikan is gifted ... very funny ... witty and full of life.
There's something extraordinary in the way that Pelikan's delicate face
transforms from a youthful glow to world-weariness with just the turn of her
Lisa Pelikan is stunning ... The performance is brimming with a vehement force.
Beverly Hills News
Pelikan is heartrending.
Santa Monica Outlook / Daily Breeze
Pelikan is fascinating ... Dynamic solo performance.
American Radio Network
Wonderfully humorous performance.
LA Village View
Pelikan is incandescent ...a dazzling star turn, painting a richly layered
portrait of a gallant doomed woman.
Lisa Pelikan's portrayal is a personal triumph ... You'll love Lisa Pelikan as
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