Facebook Round Instagram round Twitter round

The Oresteia, STC

**Emery Battis Award for Excellence in Acting

“Dynamic portrayals…particularly Kelley Curran as vengeance-obsessed Clytemnestra…the power of Curran’s performance and the grandeur of Clytemnestra’s rage…Curran carries herself like a queen, evincing a heart so broken for a dead child that the grief makes believable the vacuum of feeling for her surviving children. It’s a performance built of majestic bitterness.” – The Washington Post,  5/7/19

“And standing at the center — as towering and essential as that blighted house itself — is Curran’s performance as Clytemnestra, one of the best you’ll see on a Washington stage this year. With a mile-long emotional range and what was clearly a careful examination of both the fresh and dusty texts, Curran keeps the tragedy from downing in its own gore.” – Brightest Young Things, 5/9/19

“Clytemnestra (Kelley Curran, in a performance of such etched clarity and cruelty it will blow you away)…Years of rage have honed her to stiletto-sharpness, her speech clipped and clean and, as Curran indelibly portrays her, a woman of extremes—noble and base, maternal and cold.” – DC Theatre Scene, 5/9/17

“Owning this alpha completely, a superb Kelley Curran burns incandescent in all her grief, inconsolable anger, and destructive glory. But if Curran serves it larger than life, she is not without nuance: even when her Clytemnestra is calm, we feel the dark waters beneath her surface running at speed. When they erupt, the display is magnificent.” – DC Metro Weekly, 5/9/17

“Delivering a powerful and mercurial performance as Clytemnestra, Kelley Curran is magnificent… There is a severe gravity that pulls Curran to the ground of the show’s dramatic essence. Completely convinced of her character’s own justifications, Curran is ferocious when attacking her dialogue, even when she does it with subdued volume and quieted emotions. The jaw-dropping reveal at the end of Act I is a powerhouse throw-down moment that Curran owns sublimely… Curran’s performance is stellar and second to none in this production.” – Washington Bloom, 5/7/19

“Conveying this updated language is an extraordinarily talented cast, led by Kelley Curran as Clytemnestra. Even at her worst moments, Clytemnestra is played with a sensitivity that makes her as sympathetic as she is concerning; she is both victim and villain, and Curran’s mesmerizing performance certainly captures that.” – BroadwayWorld, 5/7/19

The Winter’s Tale, TFANA

“Ms. Arbus depends on the excellent cast…the women are already the most powerful characters, and though that power is mostly moral, they eventually find ways to weaponize it. In Hermione’s resuscitation scene, regally played by Kelley Curran…we understand that what Shakespeare values is not the anarchic emotionality of men but the vigilant self-possession of women.” – New York Times,3/25/2018

“…there are magical moments, too…Curran’s climactic resurrection is what truly thaws the heart. Remorse, forgiveness and second chances are never out of season.” – Time Out NY, 3/26/2018

“…the play’s leading ladies deliver the punch that gives this production its motive spark. Curran lays bare the selflessness of motherhood.” – Brooklyn Daily Eagle, 3/25/2018

The Outsider, Paper Mill Playhouse

“The cast of The Outsider is exceptional. They master their roles and capture the humor and charm of the play.” – Broadwayworld, 1/30/2018

“The only other female character is reporter Rachel Parsons (Kelley Curran, who is captivating…)” – Theatermania, 1/30/2018

Peter Pan, Bedlam

“There’s a reason that Wendy Darling (the bright-eyed Kelley Curran) isn’t double cast in this production. She’s the play’s feverish, yearning heart…this Peter Pan doesn’t belong to its eponymous boy wonder. Instead, it belongs to a girl … all open-eyed awareness and electric desire … Curran’s Wendy, a young woman feeling the sting and shudder of sexual longing for the first time.”  – Vulture, New York Magazine, 11/20/2017

“…especially Wendy (the poised Kelley Curran, a welcome still point…)…Wendy leaves, though she and Peter meet again, in a rarely performed coda that is the Bedlam’s version’s best scene…Maybe she still dreams of flying straight on till morning, but she has learned what the play hasn’t — that a real life, even an ordinary life, is an awfully big adventure, too.” – New York Times, 11/20/2017

“Kelley Curran, vulnerable and commanding” – Wall Street Journal, 11/22/2017

Twelfth Night / What You Will, Bedlam at Central Square Theatre

“Sir Toby – in this production played both by and as a woman by Curran — is no stumbling boor but a sensuous femme fatale, swaggering about with a cigarette hanging out of her mouth, seducing the strange and strait-laced Maria… The raw sensuality brings a deviant heat to the comedy, a poetic tawdriness reminiscent of Tennessee Williams… [Eric] Tucker shows how easy it is for a talented performer to make his audience – whether Orsino, Olivia, or theatergoers – forget that he is not what he plays… Curran’s masculinity [as Orsino] is similarly understated. Together, the two performers, through simple and open means, bring a new dimension to these characters.” – The Arts Fuse, 6/23/16

“I couldn’t keep my eyes off a charismatic young actress named Kelley Curran; one night she played a prim, lovesick Olivia, AND a chain-smoking Sir Toby Belch– as a woman! In “Twelfth Night” she plays a sexy sullen Orsino in jeans and boots, and a cynical Maria. (I subsequently found out that Curran happens to be the younger sister of another vivacious beauty on the boards about town… Whatever was in the drinking water in that household should be bottled and sold for mass consumption.)” –Joyce’s Choice, 7/1/16

 The DingDong, Pearl Theatre Company

**Drama League Award Nomination – Distinguished Performance 2016.  Nominated alongside: Lin Manuel Miranda, Daveed Diggs, Jessica Lange, Lupita Nyong’o, Michelle Williams, Cynthia Erivo, Ben Wishaw, Phylicia Rashad, et al.  2016 Drama League Award Nominees – Full list

“And then, there is Kelley Curran!  This brunette bombshell essays four different parts with the kind of comedic élan that made Carol Lombard a legend. Trust me, funny and sexy isn’t an easy thing to pull off. Ms. Curran makes it look like a day at the beach on Cannes. Vive La Kelley!”   –NY Theatre Guide 4/18/16

“This in-house cast is crucially augmented by Kelley Curran, a comedienne of astonishing virtuosity.   Playing a Rosalind Russell-style tough Parisian, an Italian sexpot, and a sex-hungry Manhattan seductress, she bestrides the stage,  and fills the house with the wailings of these hilarious amazons. ”  – NY Theater Buying Guide,  4/18/16
“Five actors play 13 roles… Kelley Curran, who enacts four characters with four different accents, manage[s] the task with the most variety and verve”  – The New York Times, 4/18/16

The Comedy of Errors, Shakespeare & Company

“She is a magnificent specimen …  She is also a hilariously high-strung delight to behold in Taibi Magar’s effervescent staging of “The Comedy of Errors” … where Kelley Curran unapologetically steals the show. Operatic in both anger and misery, … comical, ridiculous, as self-dramatizing as anything on reality TV — and sympathetic, too. Beneath all the Jersey girl trappings is a human being, not a Real Housewife, and that lends heft to (the) production …” The New York Times, 8/4/15

“Kelley Curran (her impossibly tight-white-panted Adriana drives this C.O.E. with a triple threat performance highlighted by a stunningly sung monologue in Act 2) … [is a] revelation. By play’s end … you’ll likely agree with the enthusiastic audience members who burst out with “…. Kelley Curran is a genius.” –Metroland, NY Capital Region Weekly, 7/16/15

Red Velvet, Shakespeare & Company

“… my first shock was experiencing the contrast between Curran’s sensitive Ellen Tree in Red Velvet after recently enjoying her over-the-top, constantly venting Adrianna in Comedy of Errors, … already playing to packed houses. ” I’ve just seen her develop a delicate, difficult moment as Desdemona/Ellen with Othello/Ira/John [Douglas Thompson]. … I’m sitting with a young actress with depth and range as well as imagination.” Berkshire Edge, 8/8/15

“The actress Ellen Tree, brilliantly played by Kelley Curran … the performance by John Douglas Thompson is indelibly etched in my mind’s memory, as is that of Kelley Curran; the casting of the two together made a perfect fit.” Berkshire On Stage, 8/15/15

“… the luminous Kelley Curran … [in] Curran’s sensitive rendition, a staid, formulaic actress gradually softens, professionally and personally.” The Boston Globe, 8/18/15

“… Ellen Tree (Kelley Curran in a smooth, elegant, richly layered and deeply nuanced performance) …” The Berkshire Eagle, 8/19/15

“…Kelley Curran, star of Shakespeare & Company’sThe Comedy of Errors, here showing a range as deep as it is expansive …” Metroland, 8/28/15

“Distinctively attractive Kelley Curran, cast as Ellen Tree/Desdemona, [is] gracefully elegant, she provides a memorable performance. … The sequence … which finds Aldridge [John Douglas Thompson] and Tree alone on stage as they explore a physical encounter between Othello and Desdemona is exquisite in terms of acting technique, discipline, and power. … As it plays, this becomes a sensitive, revealing, courageous back and forth, one which is revelatory through its honesty. … Kelley Curran … at times draws one eyes to her through her realization of the role, through her in-depth actualization of Desdemona. Watching these two actors at work is, in itself, precious.”, 8/29/15

“… the woman playing his Desdemona … (played by the gifted actress Kelley Curran) … trying out various ways to make the encounter more effective, provide some of Red Velvet‘s most memorable moments.” Arts Fuse, Boston, 8/18/15

Moby Dick, Rehearsed, The Acting Company

“Kelley Curran is a standout as Pip… Theater is all about enlisting the audience’s imagination, a skill Ms. Curran … has mastered.”  The New York Times, 5/10/08

Tis a Pity She’s a Whore, Red Bull Theater

*Joe A. Callaway Award, Best Performance by an Actress in a Classical Play in NYC, 2015

“ [This] fine revival gets a jolt whenever Kelley Curran appears to vibrate with venom as the revengeful Hippolita …” NY Daily News, 4/27/15

“… the charismatic Kelley Curran, as an unfaithful wife triply betrayed … packed into the lingerie formalwear of Prince’s band circa 1985, she rages fire like the southern end of a northbound dragster.” Village Voice, 4/29/15

“Kelley Curran, as Soranzo’s former mistress Hippolita, is the perfect femme fatale” Curtain Up, 4/29/15

Henry IV, Parts 1 & 2, The Shakespeare Theater Co. of Washington, DC

*DC Metro Award: Best Featured Actress, Professional Production, 2014, as Lady Percy

“One of the dramatic high points was Curran’s heartbreaking portrayal of Lady Percy. Her speech in Scene III, … was tragically compelling. Curran is beautiful and to see such a youthful woman wearing black in mourning is a striking image.” Broadway World, 4/21/14

“As … Lady Percy, Kelley Curran is a striking figure with a memorable edge …” DC Metro Weekly, 4/24/14

“It’s not very often that you hear Shakespeare’s plays described as “sexy.” But to actors John Keabler and Kelley Curran, Henry IV is as sexy as it gets.” Monumental Network – What’s On Tap DC, 4/1/14

“Kelley Curran as Lady Percy, as alluring a liberated woman as ever there was …” Alexandria Times, 5/5/14

“Kelley Curran as Hotspur’s widow scorches her father-in-law with a speech about the obscenity of honor next to death … “ DC Theater Scene, 4/21/14

“Hotspur(s) … scenes with his wife, Lady Percy (Kelley Curran) add a note of joyous sexuality to the performance, bringing a new level of interest to the very real conflicts between them.” DC Metro Theater Arts, 4/16/14

“Kelley Curran (Lady Percy), creates a striking portrait of a widow who is still passionately in love with her dead husband.” DC Metro Theater Arts, 4/19/14

Venus In Fur, Gulfshore Playhouse

“With incredibly deft skill … it is unmistakably Ms. Curran’s stage from the instant she bursts through the door. Her 21st century Vanda is brash and uninhibited; her 19th century Vanda is sophisticated and self-possessed.” Florida Weekly, 10/9/13

“Curran, … electrifies from the moment Vanda bursts through the door. (She) inhabits Vanda with the complete uninhibited abandon required to carry such a bold, complex character forward.” Naples News, 10/5/13

Anna Karenina, Portland Center Stage

“… originally scheduled to open on April 6, the actress cast in the title role (Anna Karenina) came down with an 11th-hour illness, forcing PCS to cancel several performances and postpone the official opening.  That meant a mad scramble … above all re-rehearse nearly the entire show with Kelley Curran, who until Sunday still was performing in “Shakespeare’s Amazing Cymbeline” in the theater’s basement studio. All of which makes the achievement of Wednesday’s opening more remarkable. … Learning the lines for such a large role in less than a week is one thing; so quickly inhabiting a character with such depth and nuance and naturalness scarcely seems possible. Curran … presents a softer, less fragile Anna, which makes her appeal even more apparent, and makes her unraveling more tragic.” The Oregonian, 4/12/12

“Curran brought the sturdy practicality … to her “Anna Karenina,” a nobility more inner than exterior, more about character than bloodlines, which works extremely well … Watching Curran deal with conflict is the greatest pleasure the production affords, how fragile and vulnerable she becomes as the conventional crushes her flight to happiness. I’m in agreement with Marty Hughley’s assessment of Curran’s performance: “Learning the lines for such a large role in less than a week is one thing; so quickly inhabiting a character with such depth and nuance and naturalness scarcely seems possible.” Other pleasures include some of the voices. I’m thinking of Curran, specifically, her clear mezzo so adaptable to the stresses of Anna …” Oregon Arts Watch, 4/14/12

“I liked Curran as Imogen in Cymbeline, but watching her again in a completely different role so soon made me appreciate her as an actor and her Imogen even more. Curran’s Anna is really fun to watch as she disintegrates from a self-assured, practical woman of means and standing into someone made mad by love.” Oregon Public Broadcasting, 4/15/12

Cymbeline, Portland Center Stage

“Kelley Curran, who portrays Imogen, … is wonderfully well rounded. A loyal loving wife, she is also full of energy and fire. Curran captures the impetuous enthusiasm, the earnest intensity, as well as the wry sense of humor of the character.” The Oregonian, 2/5/12