with subtle movement choreographed by Colleen Hughes and Jillian Rose Keys’ understated Lapine costumes — capture a rabbitness that feels organic and noble, not cute or contrived.
this may be the first time— for a few hundred years at least— that the Nurse and Tybalt are played by the same person. Colleen Hughes, in her amazing double turn, is the “Princess of Cats.
Choreography is a standout
wonderfully inventive movement and dance coaching
but Jonny and Mauve — with Hughes evoking sympathy as she parts from both her beau and her carefully guarded composure — are harder to read and more complex. Although immensely wounded, they possess a grander sense of the reparations they must try to make
“Colleen Hughes, as Jesse’s killer, Robert Ford, makes a transition from lovelorn, rapturous devotion to dead-eyed guilt.”
This Tybalt, played by Colleen Hughes (who also gives new and vibrant life to the Nurse in an astonishing shift in other scenes) seethes with a kind of barely containable rage that threatens to spit, like the Prince of Cats, her namesake. She’d be right at home with modern day female action heroes.
Mauve is the play’s steadiest, most relatable character, often dismayed by the others’ eccentricities and passions, and Hughes makes her heartbreakingly genuine.
Colleen Hughes is convincingly callous and street-tough as Tybalt
Colleen Hughes renders a sensitive depiction of the Nurse
Colleen Hughes is also worth noting for her hilarious robotic stiffness as Maria in scenes played against Don Antonio
Colleen Hughes shows great range
Hughes’ Tybalt is visibly damaged, her openly carried weaponry unable to protect her from her aunt’s ire, and her irrational hatred of Montagues a stark contrast to her almost desperate devotion and easily-shattered bravado.. . .the bulk of the feud’s portrayal falls on Hughes’ Tybalt, whose personal reasons for lashing out seem more urgent than simply continuing an ancient grudge
Colleen Hughes infuses the teenaged Robert Ford with a babyfaced innocence
Colleen Hughes was striking as that trembling, callow youth
Colleen Hughes brings out all the uncomprehending roughness in Rose. She is the wild card among the sisters… Rose needs tending, and Hughes lets us see why while making Rose lovably open and ingenuous. In Hughes’s capable hands, Rose displays the telling traits of a Mundy sister while living in her own world, one even more sealed and unknowable than Kate’s.
Colleen Hughes (Ella) and John D’Alonzo (Jorge) turn in particularly animated performances filled with rapid-fire musings on Freudian-style dream analysis.
These six exceptional actresses have a fascinating way of utilizing their bodies to capture the various energies of their characters, varying from when they play men verses when they play women.
communicative movement choreography by Colleen Hughes
Colleen Hughes was electric
Another scene stealer in the show is Colleen Hughes’ Ilse: a gypsy of sorts who is so fresh and full of life and uninhibited compared to the other girls that you can’t help but fall in love with her. A part of me spent the rest of the show waiting for her character’s return
South Philly Review: Sept. 13, 2012