LADY MACDUFF

“The Lady Macduff of Joyce Fideor, however, is emphatically a person… you know her and would like to know her better.” – The New York Times (Walter Kerr)

“…nothing becomes this production like our leaving it.  Well, there is one exception:  Joyce Fideor is a decent and dignified Lady Macduff, and can be understood throughout.” – New York Magazine (John Simon)

“The brief scene between Lady Macduff and her son before their murderers arrive is nicely done by Joyce Fideor and Christian Slater.”  – Daily News (Douglas Watt)

NORA

“Joyce Fideor makes an attractive, impassioned and womanly Nora” 

– The New York Times, (Walter Goodman)

BLANCHE

“From the moment Joyce Fideor’s Blanche arrives upon this scene…she has the riveting air of a caged bird, a peacock desperate for light in a dark cave.  Fideor shows all the ever-spinning facets of Blanche’s neurosis:  First, the artificially prim belle who fools nobody but the simple MItch; then, when liquor loosens her, the earthy, overripe harridan who’ll present herself for Stanley’s benefit when Stella’s out…But there is also the fragile, wounded aesthete that might have been, hoarding her “poems from a dead boy.”  Fideor commands all of this.  It’s an important, notable performance on a national scale.”  – Dallas Times Herald

“One can also see why Hollis cast Joyce Fideor as Blanche.  … Her struggle is internalized.  It’s as if something has broken inside Blanche and all of her high strung desperation is the result.  She hides in the soft, colored light because she knows she’s empty. … Fideor is convincing.  Her Blanche isn’t some collection of stage affectations.  She is so quietly tense just holding herself together that she doesn’t need Stanley’s attacks to unsettle her.  Fideor’s performance coheres; she has emotional force and sense.  She works.”  – The Dallas Morning News

LADY MACBETH

“[Lecturer] Kuslan’s message was exemplified in an extraordinary performance by actress Joyce Fideor, who rendered a speech by Lady Macbeth in three different ways to illustrate the influence of actor interpretation.  Fideor concluded her performamce with two emotionally charged soliloquies from Lady Macbeth which left the audience in awe.”

– Valley News Now (Nigel Logan)

ROXANNE

“Joyce Fideor was a marvelous casting choice as the lovely Roxane.  She was a strong, dominant personality when on stage.  Whether sweeping through the bake shop, fully in command, or swooning in the arms of the handsome Christian, Fideor epitomized the adored heroine of the romantic era.” – The Herald

“Miss Fideor flowers as an exquisite Roxane.  Her performance is worthy of a ballad or two penned in her honor.  She’s never girlish or shallow because she’s always on the verge of blooming, waiting to reveal to us the inner loveliness that lies dormant for so long…” – The Trumbull Times

THE TWELVE-POUND LOOK

“Joyce Fideor does nicely, too, as Sir Harry’s current, bullied wife, upon whose face a “twelve-pound look” is beginning to dawn as the curtain falls.” – The New Yorker (Edith Oliver)