REVIEWS

"Steel Magnolias"

Tudor and McSwain offer-up an incredibly real and endearing mother-daughter pair. 

DC Metro Theatre Arts

"I Go Somewhere Else"

"I Go Somewhere Else" is an artistic triumph . . . [Grayson, Johnson and Tudor] create distinctly etched versions of the same person moving seamlessly from hand-jive to heartbreak and back.

- Theatre Ghost

Johnson and Tudor do their accustomed excellent work.

Stage Scene LA

Each of the actors is at the top of their game.

- Stage and Cinema

Superb ensemble!

- Stage Raw (Recommended)

"Honky"

Deftly skewering platitudes and self-delusions surrounding racial identity in our advertising-driven society, this sharply written, smartly performed satire manages to be simultaneously thoughtful and laugh-out loud-funny . . . . excellent ensemble.

- LA Times Critics' Choice

Peter's African-American shrink Emilia Hodge (Inger Tudor) brilliantly lets us see her struggle to treat her white clients with understanding, trying to convince herself they are just "people with problems."

- Broadway World.com

And the performances he has elicited from an all-around stellar cast could not be sharper, funnier, or more exciting . . . (Tudor, a comedic delight).

- Stage Scene LA

Go! Sharp and biting satire. Spot on in its probe of the anxieties about race that beset even the most adult and bias-free among us.

- LA Weekly Arts & Culture

"Antigone"

Particularly inspired is the personification of the Chorus in Inger Tudor’s narrative recaps and commentary, delivered in ironically breezy direct address that evokes the story’s tragic magnitude even as it debunks the theatrical artifice we’re watching.

- LA Times

Inger Tudor expertly performs the role of chorus, our captain, guiding the audience through the tempestuous waters of the drama. Furthermore, the role of chorus is expanded as Tudor begins to get caught up in the drama, making a quick transition from observer to participant. This dramatic choice serves to take the audience deeper into the story—it’s as if the stakes become so high that the captain of the ship jumps into murky waters to battle the demons right before our eyes.

- Tin Pan LA

Inger Tudor’s one-woman chorus makes a declamatory marvel of narrative conjuration, in essence pleading the case for compelling our imagination to the material.

- Stage Raw

At ANW, a refreshingly diverse cast takes care of the action, with several of the actors in debut with the company. Of special mention [is] Inger Tudor, as “Chorus,” who explains to the audience what they are about to see with a strong voice and clear delivery.

- Around Town Pasadena

Inger Tudor makes the chorus . . . the voice of reason as she sets and expands the tale beyond the intimate palace space.

- Los Angeles Daily News

"Diet of Worms"

Inger Tudor wonderfully portrays the strict but illiterate Mother Abbess as the mother hen leading and protecting her chicks. 

- Broadway World.com

. . .Tudor, whose depiction of the abbess is strong and skilled. 

- LA Weekly

Inger Tudor’s dignified, centered Abbess holds the community and its story together, even when she cedes her power to her charges.

- TheatreGhost.com

"Going to St. Ives"

In Lee Blessing’s taut drama Going to St. Ives, Inger Tudor provides an eloquent, almost iconic portrait of a tough but compassionate African empress who must confront the fact that the son she loves has grown into a vicious, amoral dictator and a public menace. She captures the imperiousness and gravitas of the empress, the pain and determination of the mother, and ultimately, the stoicism of a woman who has been stripped of status and wealth, as well as liberty. Her performance is subtle, multilayered, and memorable.

- Neal Weaver (Critic's Pick - Kabookit)

. . . Inger Tudor, as the haughty May N’Kame, delivers a heart-wrenching monologue on a mother’s loss that brings the play into tragic focus.

- Theatre Spoken Here

. . . [A]nd though Theatre Of NOTE member Tudor seems scarcely old enough to have a teenage dictator as her son, she too is absolutely magnificent—and regal to boot. 

- Stage Scene LA - WOW!

Sensitively guided by director Linda Kerns, McNamara and Tudor are both strong and sensitive, delivering truly lovely performances. Tudor was a late replacement, making it all the more laudable that the two actors established as much chemistry as they did on opening weekend; a connection which is likely to become even more robust.

- Stage and Cinema

"The Social Network"

. . . [A]nd a delightfully brief scene when his assistant, played with a needle look that is the equivalent of arms akimbo, by a self-consciously cheeky Inger Tudor. . . her stare alone deserves an award.

- The Providence Journal

"Stop Kiss"

Inger Tudor playng a witness to the crime, Mrs. Winsley, and a Jamaican nurse at the hospital steals her brief scenes. She's marvelous.

- Eye Spy LA

"The Maids"

Tudor is riveting as Madame, taking the stage with a grand flourish and complete command of her clownishly self-absorbed character.

- Backstage West

Dawn Greenidge, Sofie Calderon and Inger Tudor are in top form as they dance through their machinations for gaining power over the other players. Their envy despair, sensuousness, their disdain, all, are played with commitment and sophistication.

- Out Magazine

"Food for Fish"

. . . Tudor makes Alice genuinely touching. 

- Backstage West

"Romeo and Juliet"

. . . [A]nd the subtly effective performance of Inger Tudor as Juliet's torn and beaten mother, whose grief in act two the actress interprets with a quiet puzzlement and drawing inward that wrenches the heart in its honesty.

- Ticket Holders

"House on Lake Desolation"

. . . Tudor deliver[s] standout performance.

- LA Weekly

"The Family of Mann"

Inger Tudor is a powerhouse as the beleaguered yet proud PA flunky.

- Backstage West

"Primitive World"

. . . Tudor's saucy, smooth Naima is a pleasure to watch.

- Village Voice

Inger

   Tudor