A Man Of No Importance - Classic Stage Company
“Mr. Doyle has enlisted some superb actors who play musical instruments for supporting parts, among them Kara Mikula, who fiddles nimbly while pouring comic prowess into her role as an exhausted matron.”
-Elysa Gardner, The NY Sun
“Doyle’s small triumphs of restraint and husbandry add up to something large... Nor have I heard a sound so mournful as the one produced in the show’s saddest moment by the accordion: a wheeze of despair.”
-Jesse Green, The New York Times
“Best of all, Doyle has assembled a crackerjack cast of theater pros, each of whom bring three-dimensional life to even the smallest roles.”
-Brian Scott Lipton, CITITOURNY
“Doyle has cast this ensemble with incredible actor-singers, many of whom are stars in their own right.”
-Lane Williamson, Exeunt NYC
“With audiences on three sides of a small, knickknack-laden stage, which actors frequently spill off of with instruments in hand, A Man of No Importance at Classic Stage Company perfectly captures the feel of scrappy community theatre in a church basement. That's a high compliment, to clarify. In fact, it's the entire point of the show, a stirring and gorgeous one in its simplicity…. Each member of the ensemble shines in even the most underwritten parts…”
-Gillian Russo, New York Theatre Guide
“Although he does not always employ the approach, John Doyle has become known for directing productions in which performers function as both musicians and characters. The result can sometimes illuminate a script by highlighting the interplay of story, music and lyrics. The overall effect makes for a thrilling evening. As a consequence, Doyle and company have invigorated a show... in the current Classic Stage Company revival of the 2002 musical A Man of No Importance…. Bruce Coughlin orchestrated, and all of the musicians do fine work under Caleb Hoyer's direction…. The rest of the ensemble is excellent, and there is an embarrassment of riches with Broadway stalwarts, such as Alma Cuervo, Mary Beth Peil, and William Youmans rounding out the cast.“
-James Wilson, Talkin’ Broadway
-Elysa Gardner, The NY Sun
“Doyle’s small triumphs of restraint and husbandry add up to something large... Nor have I heard a sound so mournful as the one produced in the show’s saddest moment by the accordion: a wheeze of despair.”
-Jesse Green, The New York Times
“Best of all, Doyle has assembled a crackerjack cast of theater pros, each of whom bring three-dimensional life to even the smallest roles.”
-Brian Scott Lipton, CITITOURNY
“Doyle has cast this ensemble with incredible actor-singers, many of whom are stars in their own right.”
-Lane Williamson, Exeunt NYC
“With audiences on three sides of a small, knickknack-laden stage, which actors frequently spill off of with instruments in hand, A Man of No Importance at Classic Stage Company perfectly captures the feel of scrappy community theatre in a church basement. That's a high compliment, to clarify. In fact, it's the entire point of the show, a stirring and gorgeous one in its simplicity…. Each member of the ensemble shines in even the most underwritten parts…”
-Gillian Russo, New York Theatre Guide
“Although he does not always employ the approach, John Doyle has become known for directing productions in which performers function as both musicians and characters. The result can sometimes illuminate a script by highlighting the interplay of story, music and lyrics. The overall effect makes for a thrilling evening. As a consequence, Doyle and company have invigorated a show... in the current Classic Stage Company revival of the 2002 musical A Man of No Importance…. Bruce Coughlin orchestrated, and all of the musicians do fine work under Caleb Hoyer's direction…. The rest of the ensemble is excellent, and there is an embarrassment of riches with Broadway stalwarts, such as Alma Cuervo, Mary Beth Peil, and William Youmans rounding out the cast.“
-James Wilson, Talkin’ Broadway
“The musical also benefits from the direction of John Doyle, who stepped down as artistic director of Classic Stage in June, and leaves the company with this wonderful parting gift. His signature actor-musician style works particularly well in a story set around a community theater (in which there's always at least one dude with an acoustic guitar). Actors move gracefully through the space, their instruments playing important roles (a drum becomes Robbie's steering wheel, and an accordion creates the heavy breathing of a particularly tense moment). Inventiveness abounds, with a muslin curtain becoming a bedsheet and the stairs around the theater expanding the playing space.”
-Zachary Stewart, Theatermania
“Under John Doyle’s ingenious direction, the ensemble cast skillfully embodies Alfie’s troupe of amateur actors as they attempt to help their bus conductor-director mount Oscar Wilde’s “Salome” in The Social Hall adjacent to St. Imelda’s, the small parish church in a quiet neighborhood of Dublin. This supporting cast acts, sings, dances, and plays their instruments to perfection.”
-David Roberts, Theatre Reviews Unlimited
“The score, by Stephen Flaherty and lyricist Lynn Ahrens, reinforces the chamber-music quality of the piece, with snatches of Celtic music pastiche and some bouncy ensemble numbers that provide moments for the supporting cast to shine….While there is a small band in the balcony, director John Doyle characteristically asks many of the ensemble to pull double duty as instrumentalists — and here the gambit helps to reinforce the let’s-put-on-a-show spirit of the troupe that we are meeting on CSC’s modestly dressed wooden thrust stage.”
-Thom Grier, The Wrap
“The satisfactions of this revival of A Man of No Importance are all in that smaller-scale fiddling: both literally, in the sense of a bit of violin-playing onstage, and in a cast of supporting performances all crafted with delicacy….
John Doyle, directing his final Classic Stage production after stepping down as artistic director, boils things down further, as is his wont. In his time at CSC, Doyle favored disassembling musicals until they felt almost skeletal, with actors acting as musicians and sets that might as well have had a few wooden chairs stand in for a city bus, as they do here. It worked better at some times than others — and you may fear that reducing something as slight as A Man of No Importance would make it evaporate completely. But instead, the musical opens up: We’re watching a show about a little amateur theater company, after all, so why not build the ragtag in? A curtain doubles as the draping over a Virgin Mary. A drum doubles as a bus driver’s wheel. An accordion even provides the ominous rasp of breathing after Alfie is attacked…
This is a production composed of small parts, one after another, each building into something bigger… Parsons may be at the center of the story, but he hands it off to the cast around him in moments…”
-Jackson McHenry, Vulture
“But no one in this amazingly talented Greek chorus doesn’t deliver, or at least isn’t given the chance to shine, even if the moment is small…. Each (of this illustrious crew) are musically and emotionally tuned in and delivering the goods beautifully, creating a Greek chorus that has individuality and engagement in every setup presented…
A Man of No Importance finds all that is beautiful in the camaraderie of these simple theatrical folk. The music and the performances shine the warmest of light on these people, and how they can care about one another through art and literature. It’s tender, and a joy to behold, leaving us knowing that we all have a lot to learn and understand about love and compassion, as we watch Alfie’s Greek chorus come together to show just how important the man, and his passion, for people and for art, is to all those who want to ride that bus down those sweet beautiful Irish streets.”
-Ross, FrontMezzJunkies
-Zachary Stewart, Theatermania
“Under John Doyle’s ingenious direction, the ensemble cast skillfully embodies Alfie’s troupe of amateur actors as they attempt to help their bus conductor-director mount Oscar Wilde’s “Salome” in The Social Hall adjacent to St. Imelda’s, the small parish church in a quiet neighborhood of Dublin. This supporting cast acts, sings, dances, and plays their instruments to perfection.”
-David Roberts, Theatre Reviews Unlimited
“The score, by Stephen Flaherty and lyricist Lynn Ahrens, reinforces the chamber-music quality of the piece, with snatches of Celtic music pastiche and some bouncy ensemble numbers that provide moments for the supporting cast to shine….While there is a small band in the balcony, director John Doyle characteristically asks many of the ensemble to pull double duty as instrumentalists — and here the gambit helps to reinforce the let’s-put-on-a-show spirit of the troupe that we are meeting on CSC’s modestly dressed wooden thrust stage.”
-Thom Grier, The Wrap
“The satisfactions of this revival of A Man of No Importance are all in that smaller-scale fiddling: both literally, in the sense of a bit of violin-playing onstage, and in a cast of supporting performances all crafted with delicacy….
John Doyle, directing his final Classic Stage production after stepping down as artistic director, boils things down further, as is his wont. In his time at CSC, Doyle favored disassembling musicals until they felt almost skeletal, with actors acting as musicians and sets that might as well have had a few wooden chairs stand in for a city bus, as they do here. It worked better at some times than others — and you may fear that reducing something as slight as A Man of No Importance would make it evaporate completely. But instead, the musical opens up: We’re watching a show about a little amateur theater company, after all, so why not build the ragtag in? A curtain doubles as the draping over a Virgin Mary. A drum doubles as a bus driver’s wheel. An accordion even provides the ominous rasp of breathing after Alfie is attacked…
This is a production composed of small parts, one after another, each building into something bigger… Parsons may be at the center of the story, but he hands it off to the cast around him in moments…”
-Jackson McHenry, Vulture
“But no one in this amazingly talented Greek chorus doesn’t deliver, or at least isn’t given the chance to shine, even if the moment is small…. Each (of this illustrious crew) are musically and emotionally tuned in and delivering the goods beautifully, creating a Greek chorus that has individuality and engagement in every setup presented…
A Man of No Importance finds all that is beautiful in the camaraderie of these simple theatrical folk. The music and the performances shine the warmest of light on these people, and how they can care about one another through art and literature. It’s tender, and a joy to behold, leaving us knowing that we all have a lot to learn and understand about love and compassion, as we watch Alfie’s Greek chorus come together to show just how important the man, and his passion, for people and for art, is to all those who want to ride that bus down those sweet beautiful Irish streets.”
-Ross, FrontMezzJunkies
Sister Act - Paper Mill Playhouse
“The convent nuns–led by Jennifer Allen as the Mother Superior who is troubled and resistant to the value and virtuousness of Deloris; Belinda Allyn as the shy and repressed Sister Mary Robert; Kara Mikula as the enthusiastic and bouncy Sister Mary Patrick; Diane J. Findley as the angrily displaced head of the choir–bring humor, pathos, and, most importantly, strong show-stopping voices to their roles.”
- Bob Rendell, Talkin’ Broadway
“The nuns, of course, have their own highlights, with Belina Allyn as Mary Roberts,a postulant who grows from timidity to bravery during her connection to Deloris. Her “The Life I Never Led” is a showstopper. Diane J. Findlay is a hoot as Sister Mary Lazarus, delivering some priceless one-liners. Kara Mikula is Sister Mary Patrick, full of vinegar and willing to try anything new.”
- Liz Keill, TAPinto NJ
“There's so much to love about the dynamic cast. The members capture their distinctive roles, perform the musical numbers with verve, and they have impeccable comedic timing that keeps you enjoying every minute of the show… It is the feel-good production of this theatre season and it would be a sin not to see it.”
- Marina Kennedy, BroadwayWorld
“These performances are riveting. Many were better than the Broadway production…. If Paper Mill Playhouse’s Sister Act were opening on Broadway this season, it would win the Tony Award. Audiences should flock to this production which is perfection in every way and will have you leaving the theatre smiling from ear to ear.”
- Suzanna Bowling, Times Square Chronicles
- Bob Rendell, Talkin’ Broadway
“The nuns, of course, have their own highlights, with Belina Allyn as Mary Roberts,a postulant who grows from timidity to bravery during her connection to Deloris. Her “The Life I Never Led” is a showstopper. Diane J. Findlay is a hoot as Sister Mary Lazarus, delivering some priceless one-liners. Kara Mikula is Sister Mary Patrick, full of vinegar and willing to try anything new.”
- Liz Keill, TAPinto NJ
“There's so much to love about the dynamic cast. The members capture their distinctive roles, perform the musical numbers with verve, and they have impeccable comedic timing that keeps you enjoying every minute of the show… It is the feel-good production of this theatre season and it would be a sin not to see it.”
- Marina Kennedy, BroadwayWorld
“These performances are riveting. Many were better than the Broadway production…. If Paper Mill Playhouse’s Sister Act were opening on Broadway this season, it would win the Tony Award. Audiences should flock to this production which is perfection in every way and will have you leaving the theatre smiling from ear to ear.”
- Suzanna Bowling, Times Square Chronicles
My Way - Milwaukee
Repertory Theatre
“Kara Mikula, Nygel D. Robinson, Tiffany Topol and Alex Bechtel sing dozens of tunes… The four also play piano, stand-up bass, drums, flute, saxophone, banjo, ukulele, guitar, violin and hand percussion instruments, trading off with each other... Even though Sinatra crooned many songs of heartbreak and longing, the cast's seemingly effortless virtuosity and bits of humorous stage business give "My Way" a playful and upbeat feel… A few of my favorite moments: Mikula singing Rodgers and Hart's déjà vu tune, "Where or When."; The four, singing in turns, wringing every drop of melancholy out of "It Was a Very Good Year." It was one of several numbers that featured Mikula's compelling violin playing…”
- Jim Higgins, Milwaukee Journal Sentinel
“The wonderful Kara Mikula completes the quartet, lending not only vocals both sweet and soaring, but a delightful dose of humor. Her spunky "You're Cheatin' Yourself (If You're Cheatin' On Me)" is a laugh-aloud favorite. She's also a wiz with a fiddle… In fact, this entire cast shows off impressive musical versatility. They take turns at the piano and drums. They play everything from the flute to the guitar to the aforementioned sax and fiddle. The four move gracefully from one instrument and melody to the next.”
- Kelsey Lawler, BroadwayWorld
- Jim Higgins, Milwaukee Journal Sentinel
“The wonderful Kara Mikula completes the quartet, lending not only vocals both sweet and soaring, but a delightful dose of humor. Her spunky "You're Cheatin' Yourself (If You're Cheatin' On Me)" is a laugh-aloud favorite. She's also a wiz with a fiddle… In fact, this entire cast shows off impressive musical versatility. They take turns at the piano and drums. They play everything from the flute to the guitar to the aforementioned sax and fiddle. The four move gracefully from one instrument and melody to the next.”
- Kelsey Lawler, BroadwayWorld
“Show up for the songs of Sinatra, rightfully top-billed as the focus, but the real star of the evening is quickly revealed to be Bechtel, Mikula, Robinson and Topol. Sure, their vocal talent was expected but by the end of the two-set performance they played every instrument in a music store: piano, upright bass, tenor guitar, violin, flute, drum kit, guitar, saxophone, bongos, trumpet and banjo.”
- Blaine Schultz, The Shepherd Express
A Christmas Carol - Actors Theatre of Louisville
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"Kara Mikula as Mrs. Fezziwig is a hilarious spectacle on her own."
-Laura Morton, WFPL "Other highlights include actors who are skilled musicians and singers in the production. Kara Mikula, as Mrs. Fezziwig and Mrs. Grigsby, provided some show-stopping moments both as gifted soprano and jack-of-all-instruments." - Keith Waits, BroadwayWorld |
The Cradle Will Rock - Classic Stage Company
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"Various members of the uniformly excellent cast take turns at the piano—the only instrument in the show—and sing about corruption and hope, social acceptance and marginalization, with deep feeling and humor. Sally Ann Triplett, as Mrs. Mister, and the actors who play her spoiled children (Kara Mikula and Eddie Cooper) deserve special praise. Each draws a credible portrait of how privilege works, and how grotesque it can look to the less fortunate: not like a cartoon but something altogether unfamiliar."
- Hilton Als, The New Yorker "Accompanied only by a lone onstage piano (which the cast takes turn playing), the performers – led by the passionate offsetting performances of Tony Yazbeck and David Garrison – come together wonderfully like a true ensemble, as well as get a chance to shine individually via finely-etched characterizations." - Interludes "This Off-Broadway revival by Classic Stage Company, directed by John Doyle, its artistic director, is triumphantly alive, with its 10-member ensemble bringing passion, immediacy and theatrical acuity to the script’s thesis, its music and sardonic, bitter humour. In this particular time, with the widening chasm between the haves and the have-nots and the continuing epidemic of political influence for sale, The Cradle Will Rock is indeed relevant. What Doyle and company succeed in doing is making it thrillingly relevant. Every now and then the score also slides into a song capturing the pop music of the day. For example, there’s the delightfully seductive ‘Honolulu’, in which Mister Mister’s ineffectual son, Junior Mister (another of Cooper’s roles), is lured into taking a job there (“where nothing ever happens”) as a correspondent for Editor Daily’s newspaper. Cooper’s Junior also cavorts merrily with his sister, Sister Mister (Kara Mikula), as two rich kids enjoying their kiddie boredom in ‘Croon Spoon’. Junior likes to croon; the bubbly Sister likes to spoon, as in kiss and cuddle." - Musical Theatre Review "Although Tony Yazbeck has an ultimate period look, perfect for casting by Elia Kazan, and goddess-sized Kara Mikula can make a surprising calisthenic move, this is a solid, all-equals ensemble, which also includes the impressive talents of Ken Barnett, Eddie Cooper, Benjamin Eakeley, David Garrison, Ian Lowe, Lara Pulver, Sally Ann Triplett, and Rema Webb." - Bob Shuman, Stage Voices |
"The show’s best moments contain a hint of this kind of winking, ragtag spirit, as when Mikula — who’s fun to watch throughout — executes a wacky ballet as a macho, welding-mask-wearing football coach."
- Vulture, New York Magazine, Sara Holdren "Kara Mikula (who impressively sings a song from under a welder's helmet) projects every word with bullhorn clarity." - Zachary Stewart, TheaterMania "Among the more satisfying turns...Kara Mikula sports a nice sense of period style as Sister Mister; Four of the performers spell each at the piano, and rather well, too." - Michael Sommers, NYStageReview "Dark comic relief is provided by Mrs. Mister (Sally Ann Triplett) and her children Sister Mister (Kara Mikula) and Junior Mister (Eddie Cooper). The brother/sister act stopped the show celebrating Junior’s new job as a reporter assigned to Hawaii." - Patricia Contino, StageBiz "At the Misters’ home, Junior Mister (Eddie Cooper) and Sister Mister (Kara Mikula) celebrate being rich in a frisky song and dance number. They’re among the strongest members of the cast." - Nancy Bishop, ThirdCoastReview "Benjamin Eakeley as the Reverend Salvation shines through with his heavenly singing and stage presence, as does Eddie Cooper as Junior Mister/Dr. Specialist, and Kara Mikula as Sister Mister/Professor Trixie with their wild ride around the stage, dramatically swinging and boating with abandonment." - Times Square Chronicles "Dance and movement by Eddie Cooper and Kara Mikula in their portrayal of the idle rich-kids, children of Mr. and Mrs. Mister, is most notable. They are at once graceful, humorous, and engaging." - Rachel De Aragon, Berkshire Fine Arts "Everybody sings and plays multiple roles, including four of the cast showing off better-than-average chops at the piano. Kara Mikula distinguishes herself with her voice, on the keys, and also in a fleeting, completely unexpected acrobatic bit." - New York Music Daily |
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"Kara Mikula does her wacky best in the otherwise exhausted The Cradle Will Rock at Classic Stage Company." - The Approval Matrix, Highbrow/Brilliant, New York Magazine |
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The Music Man - Arizona Theatre Company
"...And, oh, how they shine, individually and as they join Alexander and Kara Mikula in thoroughly delicious turns as the "Pickalittle ladies" and "Grecian Urn" performers."
- Herbert Paine - BroadwayWorld
"Let’s start with the good–the ensemble was incredible. The dancers were talented, the townsfolk were animated and lovely fun to watch. Among those I enjoyed most were the ladies ensemble which included ... the character of Ethel Toffelmier played by Kara Mikula,.. The scenes that included these actors were filled with joy and humor and memorable vignettes. Mikula’s hilarious facial expressions and deft physical comedy made me smile throughout the show."
- Gretchen Wirges - Taming of the Review
- Herbert Paine - BroadwayWorld
"Let’s start with the good–the ensemble was incredible. The dancers were talented, the townsfolk were animated and lovely fun to watch. Among those I enjoyed most were the ladies ensemble which included ... the character of Ethel Toffelmier played by Kara Mikula,.. The scenes that included these actors were filled with joy and humor and memorable vignettes. Mikula’s hilarious facial expressions and deft physical comedy made me smile throughout the show."
- Gretchen Wirges - Taming of the Review
Man of La Mancha - Arizona Theatre Company
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"Two actors who stole the stage were Carlos Lopez as Sancho and Kara Mikula as both Maria and the Housekeeper. Each of them shone throughout the play, but their comedic talents are especially outstanding when Don Quixote receives his knighthood from the befuddled tavern Innkeeper, played with warmth and charm by John Patrick Lowrie....During this scene, Mikula dramatically plays the {bass}, adding laughter to the scene with her melodramatic flourishes and overly-intense posture."
Serena O'Sullivan - Curtain Critic "Kara Mikula is a multiple threat in her ability to play numerous instruments while also creating distinct characters as both Quixote's housekeeper and the Innkeeper's wife....There are many show stopping moments in the production, but one of my favorites is when the trio of Connaghan, Mikula and Marcu perform "I'm Only Thinking of Him" with all three playing instruments while also singing." -Gil Benbrook - Talkin' Broadway "Oh, and there's no orchestra. Nope. Well, there's no orchestra in the pit. The music is provided by the actors themselves...about 10 really fine actor/singers who can also play—rather expertly—violin, upright bass, guitars, trumpet, percussion and, oh yeah, accordion. Mission accomplished. The idea works so well here. It provides a unifying sense of all that is happening. No cast up here, musicians down there. And remarkably, the instruments get passed around and exchanged between actors so that they play different instruments in different numbers. Kara Mikula, Patrick Connaghan and Michael Sharon also stand out while bringing us well-defined characters. But this is an ensemble show in which all are charged with contributing their best, and the result is a whole greater than the sum of its parts." - Sherilyn Forrester - Tucson Weekly |
MAMMA MIA - Capital Repertory Theatre
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"The show is blessed with a fine and talented ensemble. “Take a Chance on Me” a duet between Cali and Mikula is a comic highlight with Mikula’s expert clowning in full tilt."
- Matthew G. Moross - The Daily Gazette "Rosie is played by Kara Mikula with a "lusty wench" aspect that is hilarious and touching simultaneously. She also sings and dances with remarkably rampant joy in hand and that gives her performance a wonderful edginess." - J. Peter Bergman - Berkshire Bright Focus ""Take A Chance On Me" is delivered by an admittedly funny Kara Mikula, in full-on Melissa McCarthy comic-mother-bear mode as Rosie." - Steve Barnes - Times Union "Rosie, played by Kara Mikula - a delight throughout the show - has a show-stopping number of her own with the comically bawdy version of "Take A Chance On Me"." - Bob Goepfert - Troy Record |
Allegro - Classic Stage Company
"All this creative support seems to strengthen the fine cast’s dedication to the material.... At the performance reviewed, understudy Kara Mikula in a brava-deserving turn, took over the key role of Joe’s mother, keeping busy with her violin while also expressing her love for son and husband."
-Ron Cohen, Musical Theatre Review
Hello Dolly! - The Riverside Theatre
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"The Harmonia Gardens scenes are lush with visuals, dance and tightly-timed humor. Kara Mikula is oh-so-funny as Ernestina Money, an “heiress” intent on spending Horace’s money."
- Bill Hirshman, Florida Theater OnStage
"The Harmonia Gardens scenes are lush with visuals, dance and tightly-timed humor. Kara Mikula is oh-so-funny as Ernestina Money, an “heiress” intent on spending Horace’s money."
- Bill Hirshman, Florida Theater OnStage
A Christmas Story -The Musical - Capital Repertory Theatre
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"...the talented, lovely, comical Kara Mikula plays a variety of roles including the high-energy teacher Miss Shields and the spastic Chief Female Elf. When Mikula isn't blowing your mind with her voice and dance talents, she'll have you rolling on the floor with her amazing comedic gifts." - Will Gallagher, Discover Albany "The winner of the show is the fantastic, intense, beautiful, heart pounding tap number "You'll Shoot Your Eye Out." Lead by the scene-stealing, hilarious Miss Shields, played by the extremely talented Kara Mikula. She blows the roof off of the intimate theatre. If you're not hooting and hollering at the end of that number, something's wrong." - Will Gallagher, Discover Albany "Kara Mikula was born to make people laugh. The Pittsburgh native is currently stealing every scene she's in at The Capital Repertory Theatre in A Christmas Story The Musical. She'll tap, she'll sing, but most of all, Mikula will have the audience in stitches." - Will Gallagher, Discover Albany "From tiny moments to extravagantly comic performances, energetic humor defines the production. It's embodied by Kara Mikula, whose brassy-vamp delivery of the song "You'll Shoot Your Eye Out" as the schoolteacher is topped only by her guffawingly funny turn as a sullen department-store elf." - Steve Barnes, The Times Union "Mikula, scowling and prowling like Miss Hannigan in "Annie", taps and sings up a storm in You'll Shoot Your Eye Out." - Paul Lamar, The Daily Gazette "Kara Mikula nearly stole the show by giving her character an extra dose of sass and hilarity as she sang what was clearly the audience favorite, You'll Shoot Your Eye Out. Mikula gave an excellent musical performance and topped it off with a good ol' fashioned tap dance." - Sara Weaver, NY Theatre Guide |
Judge Jackie Justice - and the Trials of Love
PCLO Cabaret
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“That Point Park grad Kara Mikula as Judge Jackie can take the reins and run with a larger-than-life character is no surprise for those who have seen her wide-ranging vocal and comedic talents on display in shows such as CLO Cabaret's "Ruthless!" and Pittsburgh CLO's "Annie." She can belt and she can mug, and when she sings "like Springsteen I'm the boss," you better look out. This judge has a mean streak when it comes to love, and she verbally mows down the couples who come into her courtroom."
- Sharon Eberson, The PIttsburgh Post-Gazette
"But what drives the show's pace and trajectory is Kara Mikula's impatient, outspoken Judge Jackie and her deliciously judgmental diatribes. She has a full and vigorous voice that she puts to good use with "I'll Get it Back" and "Not Me." "
- Alice T. Carter, The Tribune Review
"Kara Mikula plays the title role with unabashed glee and sings with powerhouse pipes."
- Ted Hoover, The Pittsburgh City Paper
"Kara Mikula is stellar as Judge Jackie. With her seemingly endless energy and countless facial expressions, Mikula uses every minute of stage time to its fullest. She has a fantastic sense of comedy and uses it to chew the scenery wonderfully."
- Chris Bondi for The Times Online
"Judge Jackie (Kara Mikula) is a true powerhouse actress, with a voice that grabs the audience's attention, hilarious facial expressions, and quick wit sarcasm that can turn any compliment into an unknown jab."
- The Pittsburgh Magazine
- Sharon Eberson, The PIttsburgh Post-Gazette
"But what drives the show's pace and trajectory is Kara Mikula's impatient, outspoken Judge Jackie and her deliciously judgmental diatribes. She has a full and vigorous voice that she puts to good use with "I'll Get it Back" and "Not Me." "
- Alice T. Carter, The Tribune Review
"Kara Mikula plays the title role with unabashed glee and sings with powerhouse pipes."
- Ted Hoover, The Pittsburgh City Paper
"Kara Mikula is stellar as Judge Jackie. With her seemingly endless energy and countless facial expressions, Mikula uses every minute of stage time to its fullest. She has a fantastic sense of comedy and uses it to chew the scenery wonderfully."
- Chris Bondi for The Times Online
"Judge Jackie (Kara Mikula) is a true powerhouse actress, with a voice that grabs the audience's attention, hilarious facial expressions, and quick wit sarcasm that can turn any compliment into an unknown jab."
- The Pittsburgh Magazine
Grease at The Gateway
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"Now for the dance scenes. It's impossible to detail them all in one review, but the hand jive at the high school hop typifies the exuberant, intricate steps folded in most of the musical numbers. The cast claps, hops, spins, and uses hand motions and forward rolls with professional lightness, energy and ease. (And this was their second full rehearsal that day.) Miss Lynch even gets flipped. Bob Fosse's essence makes its way in some of the show's choreography, while the ensemble dances collectively as a unit at times. Danny is paired with Cha Cha DiGregorio, the terrific Kara Mikula, in this one." - Linda Leuzzi, The Long Island Advance |
ANNIE - Pittsburgh Civic Light Opera
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"Generous amounts of sauciness and sass stirred with sugar and spice have made "Annie" a 35-year theatrical success story, and Pittsburgh CLO has perfected the recipe with seasoned pros and fresh-faced newcomers...Some familiar faces from recent productions stood out in supporting roles, including Kara Mikula (recently in CLO Cabaret's "Ruthless! The Musical") as Sophie and Mrs. Pugh." - Sharon Eberson, Pittsburgh Post Gazette |
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Ruthless - The Musical - PCLO Cabaret
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"Kara Mikula sings Lita Encore with the perfect brassy, Broadway belt and steals the show with "I Hate Musicals". - Ted Hoover, Pittsburgh City Paper "Kara Mikula, as theater critic and Judy's adoptive mother Lita Encore, raises the comedy bar with her solo "I Hate Musicals."" - Alice T. Carter, The Pittsburgh Tribune Review "The cast is uniformly fine... Kara Mikula as a theater critic who despises musicals, hits the mark..." - Sharon Eberson, Pittsburgh Post Gazette "Kara Mikula is a hoot as Lita Encore. (She gets the musical's biggest showstoppers, "I Hate Musicals," which slaps everyone from Billy Elliot to Miss Saigon." -Alan W. Petrucelli, The Examiner |
At the Surflight Theatre
"There were so many good moments in this show. Kara Mikula, another member of this past summer's troupe, continues to amaze with her varied talents...The production numbers in the Surflight Theatre holiday show are high energy and sure to lift any sagging spirits you might have. Individual performers, such as Kara Mikula, also shine, displaying a wide range of talents. Mikula's include a wonderfully husky singing style, fine comedic timing and, as a bonus, a powerful bow on the violin."
- Rick Mellerup on The Surflight Holiday Spectacular; The Sandpaper; Beach Haven, NJ.
"Kara Mikula is a wonderfully gifted comedienne who lights up the stage as she does in Santa Baby when her fantasy to be a chorus girl is realized..."
- Roberta Gold on The Surflight Holiday Spectacular; The Ocean County Gazette; Beach Haven, NJ.
"Another standout is Kara Mikula as Luce, the domineering wife of one of the Dromios. Her great comedic sense and her lovely voice were showcased beautifully in "What Can You Do With A Man." And she steals the show when she, Maggie Anderson and Heather Hawkins... do the classic "Sing For Your Supper."
- Tom Wrona on Surflight Theatre's production of The Boys from Syracuse; The Beachcomber; Beach Haven, NJ.
- Rick Mellerup on The Surflight Holiday Spectacular; The Sandpaper; Beach Haven, NJ.
"Kara Mikula is a wonderfully gifted comedienne who lights up the stage as she does in Santa Baby when her fantasy to be a chorus girl is realized..."
- Roberta Gold on The Surflight Holiday Spectacular; The Ocean County Gazette; Beach Haven, NJ.
"Another standout is Kara Mikula as Luce, the domineering wife of one of the Dromios. Her great comedic sense and her lovely voice were showcased beautifully in "What Can You Do With A Man." And she steals the show when she, Maggie Anderson and Heather Hawkins... do the classic "Sing For Your Supper."
- Tom Wrona on Surflight Theatre's production of The Boys from Syracuse; The Beachcomber; Beach Haven, NJ.
The Julia Deberson Award
Pittsburgh CLO proudly presented the 13th-annual Julia Deberson Award to CLO Ensemble member Kara Mikula on Tuesday, July 24, at the cast party for Pittsburgh CLO's production of Sunset Boulevard.
The Julia Deberson Award was established to commemorate the memory of Julia Deberson, who served as Executive Assistant to CLO Executive Directors William Thurnhurst and Charles Gray from 1975 to 1994. Every season, the directors and production staff meet to choose one outstanding Ensemble member who best exemplifies Ms. Deberson's ideals: professional skill, high work ethic, an optimistic attitude, the ability to work well with others and, above all, a passion for one's work.
Ms. Mikula joins the impressive list of past Julia Deberson Award winners, including Joe Jackson (2011), Ahmad Simmons (2010), Kathryn Lin Terza (2009), Ward Billeisen (2008), Jake Pfarr (2007), Alison Levenberg (2006), Lauren Yen Solito (2005), Eric Daniel Santagata (2004), Mark Sanders (2003), Jessica Perrizo (2002), Tory Ross (2001) and Justin Brill (2000). This prestigious award is funded by contributions from the CLO Board and Guild members, as well as staff members and friends. These funds are invested as a part of the CLO Legacy Fund endowment. Anyone who knew Julia or respects the ideals for which she stood may also contribute to the fund. For more information, contact Wynne Fedele at 412-281-3973 or wfedele@pittsburghCLO.org.
The Julia Deberson Award was established to commemorate the memory of Julia Deberson, who served as Executive Assistant to CLO Executive Directors William Thurnhurst and Charles Gray from 1975 to 1994. Every season, the directors and production staff meet to choose one outstanding Ensemble member who best exemplifies Ms. Deberson's ideals: professional skill, high work ethic, an optimistic attitude, the ability to work well with others and, above all, a passion for one's work.
Ms. Mikula joins the impressive list of past Julia Deberson Award winners, including Joe Jackson (2011), Ahmad Simmons (2010), Kathryn Lin Terza (2009), Ward Billeisen (2008), Jake Pfarr (2007), Alison Levenberg (2006), Lauren Yen Solito (2005), Eric Daniel Santagata (2004), Mark Sanders (2003), Jessica Perrizo (2002), Tory Ross (2001) and Justin Brill (2000). This prestigious award is funded by contributions from the CLO Board and Guild members, as well as staff members and friends. These funds are invested as a part of the CLO Legacy Fund endowment. Anyone who knew Julia or respects the ideals for which she stood may also contribute to the fund. For more information, contact Wynne Fedele at 412-281-3973 or wfedele@pittsburghCLO.org.