Theatre Reviews
"Witman fleshes out Agnessa with an intriguing persona. Her take is somewhere between the frail romantic floating on her dreams, and a gritty survivor; it's another piece of theater magic."
Outside Mullingar
"Then there's Witman. Well. Incredible. Rosemary is the oddest, most intense and strong role of the lot, and Witman owns it. Hard to imagine anyone putting a more definitive stamp on this character. This is a powerful portrayal that will linger large and long in your memory."
"It's hard to like Evy, but Witman's performance is another whole other story. Witman masters the unlikeable woman, no softening, no sympathy, just bare, bold authenticity. It's a strong portrayal."
The Miraculous Journey of Edward Tulane
"Constance Witman as Traveler,- perform numerous characters. Giving marked and believable definition to the multiple roles, great performances all. Still, Witman is a standout, boggling with her distinct, rich transformations."
A Doll's House
"Constance Witman's Nora speaks volumes to personal, family, community and cultural conflict, and does so perfectly in this detailed representation. Witman moves from bubblehead trinket to awakened woman in a single bite of a bitter apple. Nora's transition is a long time coming. When it occurs, the move is so sudden you feel the reverberation of a crumbling, carefully crafted mindset. That and more is there in Witman's face, first as she flits about, then worries, connives and eventually emerges aware and real. It's an outstanding, compelling performance."
Who's Afraid of Virginia Woolf
"Sears and Witman wear George and Martha like second skins, both mastering their characters' external hostilities and internal complexities. The chemistry between them and the tensions/relationships they build with the younger couple are real. Sears moves effortlessly between George's many faces, while Witman is the mistress with the acerbic bite. True to Martha's character, Witman demands all eyes on her, and each savvy, weighted move has us complying."
"Witman embodies Blanche. Her nuanced performance allows the complexities beneath the painted, shadowed, veneer to ripple and peek through. Those that emerge burst forth like wild animals on a leash, cruel or insane but kept in check till the tether finally snaps. The lady is as the southerners say "madder than a peach orchard boar," and Witman makes it so."
"Constance Witman is a standout as Marjorie. The character's range of emotions is broad, and Witman gives us a taste of them all – fear, anger, rage, cruelty, confusion – whatever the moment calls for."
"Mrs. Robinson is the kind of role that Constance Witman excels at. Witman's Robinson is a shark, an eating machine with no scruples, chilling and efficient at what she does. She nails the role. Witman makes no attempt at sympathy, or to humanize or lighten this character in any way. She's simply a cold-blooded, predatory beast and survivor that circles and strikes at will. It's a delicious performance."
"It's this duality of character which Witman evinces so beautifully; her Maggie is in conflict with the woman she is, the woman she wants to be, and with the world she longs for outside of herself. Witman gives us a Maggie born of strife, used to fighting for what she wants; a creature utterly compelling in her fear and fearlessness. We want Maggie to succeed- but we fear what may come when she gets what she wants."
"Constance Witman is outstanding as Lady Macbeth, the Bard's language rolls off her tongue as if everyday speech. Every move and line is flawless. You simply never "see" this woman act."
Wait Until Dark
"Constance Witman's Susy is both strong and vulnerable. The wife's blindness is relatively new. She stumbles some, occasionally tests tentatively with a foot or a hand even in her home. Susy is also bright and observant, and her inability to see has honed her listening skills. It's all there in Witman's performance: The physical and psychological make-up, the vulnerability and grit. It's a strong performance from an actress we've come to expect it from."
