Reviews
Diana of Dobson’s
Antaeus Theatre Company, 2019
“Marks is Mesmerizing. Her eyes dazzled, her mind focus[ed], a Mae West energy without the nudge and wink - when she is on stage, she’s all you want to witness. ”
““Marks tackles her role with passion and craft.””
“Diana is fun and fierce, played with beautiful confidence and nuance by Marks, who is just as good in the quiet moments as she is in the ones where she is the life of the party.”
““The absolute fun, excitement and exceeding success of [the] production is squarely and immeasurably charged by the incomparable Abigail Marks, who has absorbed this gem of a title role as if it was written specifically for her, as if she were indeed Diana as we might meet her on the streets.” ”
““Marks more than fills the shoes of Diana with her relentless command of the stage.” -Broadway World.”
““Marks’ Diana is richly drawn. Confident, intelligent, unafraid and always ready to say what’s on her mind. Awe-inspiring.” ”
“A sensational Marks commands the stage. Like Melissa McCarthy and Amy Schumer, the extraordinary Marks not only redefines what it is to be a romantic lead, she burns up the Antaeus stage with her fiery, fabulous star turn.”
““A force of nature, as potent as a tornado. Then, demonstrating a notable acting range, she effortlessly glides into the niceties of a posh existence.” ”
Top Girls
Antaeus Theatre Company
“The truly indelible performance is by Marks as the sweetly lost and desperately needy Angie, falling somewhere between Chaplin’s Tramp and Bette Davis as Baby Jane, bringing haunting fruition to a character you want to climb onstage and comfort.”
““Marks as Angie was very affecting, with Marks imparting an unmistakable air of menace to the disturbed Angie.” ”
“The ensemble is nothing short of sensational, not one false move [. . .} except I must admit sparks fly whenever Marks is on stage. She is a young actress to keep your eyes on. Quite remarkable as Gret and particularly Angie!”
“Marks is heartbreaking as the troubled Angie, petulant and nakedly needy.”
Sense and Sensibility
South Coast Repertory
“The show’s premier performance comes from two of its most unlikable characters, both portrayed by Abigail Marks, first as a cruel dowager taking possession of the ladies’ property and later as a giddy matchmaker.”
“Abigail Marks is a constant delight as both Fanny, the girls’ greedy sister-in-law, and Mrs. Jennings, their nosy, matchmatching neighbor.”
“Abigail Marks steals the show with her exuberant performances as the termagant Fanny and the nurturing matchmaker Mrs. Jennings.”
Cloud 9
Antaeus Theatre Company, 2014
“Abigail Marks, who was so memorable in Antaeus’ 2014 production of “Top Girls,” has her hands full, switching roles between a lovelorn lesbian governess and an independent firecracker of a neighbor who has orgasms while fending off Clive’s advance. She adroitly handles the dizzying demands, but she brings a gritty reality to Lin, a chaotic lesbian who, while looking after her unruly child Cathy, falls in love with all-grown-up Victoria.”
“Abigail Marks is charismatic as the blunt Lin, and does impressive turns as the liberated Mrs. Saunders and the love-struck governess Ellen. Kudos to her as well for a heroic number of costume changes.”
“The wonderful Abigail Marks’ buxom-heaving neighbor Mrs. Saunders [is] HYSTERICAL! Marks’ Ellen and Lin are the most grounding characters in this crazy bunch of high drama histrionics, achieving a great balance of pathos and frivolity.”
South of Delancey
Freemont Center Theatre
“Among this exceptional cast, Marks is a particular standout.”
“Rubenstone and Marks have uncommonly good stage chemistry together during their most intense and frightening scene. Marks’s performance takes off during the second act, revealing a matured character that tries to remain positive despite embittered cynicism and disappointment.”
“Abigail Marks as Faye and Michael Rubenstone as Marty are an explosive and unpredictable duo.”
Eurydice
A Noise Within
“All of this would be comparatively bland were it not for Abigail Marks, Jessie Losch and Kelly Ehlert, as the stones. Their concerted reactions to the action, and their constant critical commentary provides delight, and provides most of the memorable moments in the play [. . .] their choreography in movement and speech have a sharp, crisp quality [. . .] And they are very funny, very often.”
“Comical [. . .] an adamantine chorus.”
“Provide[s] abrasive sass.”
Cat on a Hot Tin Roof
George Mason University
“Thank goodness for the spunky Abby Marks. She invests juicy oscillations into Big Mama, who is more pivotal here than in most productions. Marks’ is the only principal accent satisfactorily assumed, and she boasts reserves of stage business that give the role pith and vim. When she’s on stage, “Cat” has a pulse - and more important - a heart.”