"This production keeps the running time down to a tight 90 minutes, propelled by an energetic cadre of actors... with enthusiastic acting the six-person ensemble "paints" a series of picaresque adventures." "This is a clever and fitting approach."Virginia Woolf's Orlando —Edge Media Network
A. Nora Long directs this delightfully propulsive and clear-headed production, wittily steering an outstanding six-person cast through the sort of precise physical choreography that disguises itself as effortless. Caroline Lawton is indefatigably charming as Orlando Each actor in the chorus — also including Michael Hisamoto, Rory Lambert-Wright, Jeff Marcus, and Elise Arsenault — is similarly excellent and indispensable to the rapid-fire storytelling and scene-shifting.Subverting gender in Lyric Stage’s sly ‘Orlando’ —The Boston Globe
"In this fast-moving, ambitious and farcical fairy tale, Orlando - played impressively by Caroline Lawton... is entertaining and often funny, showing a gift for physical comedy and imagination."Bending time and gender in 'Orlando' —Wicked Local
"As audiences ponder the complexity of Orlando’s identity, one thing is clear – they won’t be bored."
"On the surface, Orlando is delightful and fun," says Jared, "but it's the depths wisely plumbed just beneath that turn cheek into something altogether arresting."Arts This Week: 'Virginia Woolf's Orlando' —WGBH Arts Editor Jared Bowen
This attractive, jam-packed production bursts from the compact LYRIC STAGE. Sets and costumes are stripped down, beautiful, and efficient– allowing for the fleet passage of time!WOKE THEATRE ROUND UP! —Joyce's Choices
It’s a tricky show to stage, but director on speed A.Nora Long and this game cast of five who play an exponential number of parts– keep this timely transgender romp moving at a cool 90 minutes–through March 25!
Real genius is often way ahead of its time. This may be the case with Orlando and with each new adaptation, each new pair of eyes looking at the original and molding it to its own times. One can only wonder what audiences fifty years from now may make of this wonderful evening in the theater.Theater Review: “Orlando” — Asking What Gender Really Means —The Arts Fuse
“I think the time is right for ‘Orlando,’” says Ruhl. “Virginia Woolf couldn’t have imagined the trans movement, but she relished the idea that the mind of the artist is androgynous and wanted to open people up to possibilities.”‘Orlando’ crosses centuries, continents, genders —The Boston Globe
Theater major Rory Lambert-Wright is one of six chorus members described by the Boston Globe as “excellent and indispensable to the rapid-fire storytelling and scene-shifting” of Virginia Woolf’s Orlando at the Lyric Stage Company.Taking His Cues from the Pros —Suffolk University News
“As a chorus, we narrate, provide exposition, and work together to build the story,” says Lambert-Wright, Class of 2019. “You always have to be engaged in what’s going on, because it’s not the responsibility of the chorus to play characters, but to communicate the story to the audience.”
Despite Woolf’s highbrow reputation, “Orlando” is a wild, fun and sexy tale rich in time-travel and gender bending romance. “It’s a fast-paced play,” says Long. In the intimate confines of the Lyric, she hopes “Orlando” feels “like a party that will end too soon.”Who's Afraid of Woolf's Orlando? —Boston Spirit Magazine