Reviews and Testimonials
Directing
Clybourne Park
“Adrianne Moore crafts the stage picture with tension at the forefront. Plays like this, built on long, tense conversations with everyone onstage can live and die on their pacing. This production stays alive with a vengeance. Rapid-fire line deliveries are as crisp as a paper cut. There is scarcely a moment to catch your breath as disagreements and social blunders get harder and harder to sweep under the rug.”
Front Row Reviewers
“In a surprisingly gutsy move, the Lyric Repertory Company is playing the high-voltage drama card again in its 2019 season. That gamble pays off beautifully in the Lyric’s production of the Pulitzer Prize-winning drama Clybourne Park. Under the amazing direction of artistic producer Adrianne Moore, this show is a big winner, marvelously performed by a brilliant ensemble cast.”
Herald Journal News
Macbeth
“Lyric Rep’s Macbeth is riveting and relevant. Director Adrianne Moore has assembled a strong cast and tells an intriguing story.“
Utah Theatre Bloggers Association
Wait Until Dark
“The term ‘thriller’ is often loosely applied in theater circles, because it’s difficult for a stage play to generate the tension and suspense required to justify that label. But there’s nothing loose about the Lyric Repertory Company’s ongoing production of Wait Until Dark. It’s a taut, fast-paced show that builds to an electrifying climax on a darkened stage.
Herald Journal News
Rapture, Blister, Burn
“In Rapture, Blister, Burn, empathetic performances explore the consequences of making choices. What keeps the play buoyant are Gionfriddo's clever dialogue and the empathetic way the actors approach their conflicted characters, mining their strengths and weaknesses. Rapture, Blister, Burn reveals that discussions about feminism and its impact on individual lives can be enlightening and entertaining. Adrianne Moore's subtle direction evolves with a down-to-earth, natural rhythm.”
Salt Lake Tribune
“Salt Lake Acting Company's production is very much of this particular moment. Adrianne Moore's direction is crisp, and gently emphasizes the material's strong points while eliding the weaknesses smoothly.”
City Weekly
4,000 Miles
“Adrianne Moore’s direction has a low-key, relaxed feel that matches the flow of Leo and Vera’s gradually unfolding relationship. In its exploration of a multigenerational relationship, 4,000 Miles has a gentle, but insightful, touch that gradually reveals the ties that bind and separate in a family.”
Salt Lake Tribune
“Perfectly balancing laugh-out-loud comedy and deeply emotional terrain in nearly every scene, Cohen, so good in so many Utah theater roles through the years, digs in to her role as the elderly Vera with aplomb; it’s a truly excellent performance from the opening scene to 4,000 Miles‘ conclusion 90 minutes later. And Grant is a revelation as Leo, the 20-year-old theater newbie going toe-to-toe with Cohen and doing more than holding his own. Strung together gracefully by director Adrianne Moore, the collection of episodic scenes spanning three weeks’ time equate to a whole story that is remarkably satisfying. And with a script performed so well by all involved, 4,000 Miles is a must-see spring production for Utah theater lovers.”
SLCene
“Director Adrianne Moore reveals her gift at working with actors. She keeps 4,000 Miles centered around the play’s emotional core. Though tinged with melancholy, the play is quite humorous, and Moore deftly balances the heartfelt moments amid the laughs.”
Deseret News
How to Make a Rope Swing
“Rope Swing addresses age-old attitudes with vibrant new voice. It is hard to imagine more moving, truly human portrayals of these two characters than Jayne Luke and Glenn Turner deliver. Luke has an amazing ability to give abrasive characters softer edges; she subtly peels away Delores' authoritative defenses to expose the caring woman dedicated to "rescuing the minds of young people." Turner laces Bo's self-confident bluster and bravado with flashes of the bitterness and anger felt by someone who has had to learn to live with discrimination. His Bo has a zest for life that is unquenchable. Even Lucas Bybee's Mick has unexpected depth. Underneath his affable, hasn't-got-a-clue surface lie sensitivity and genuine concern. Adrianne Moore's intuitive direction unobtrusively tunes into the emotional ebbs and flows of Fisher's writing.”
Salt Lake Tribune
”SLAC brilliantly produces premiere of How to Make a Rope Swing.”
Deseret News
Last Train to Nibroc
“Last Train to Nibroc just might be one of the best little plays you’ve never heard of. Both Coons and Humes deliver deliciously nuanced performances that make the emotional transition [from a relationship fueled mostly by the friction between heir clashing small town values into something more tender and accepting] completely believable."
Herald Journal
Dialects
The Cake
“Each actor shares delightful and painful moments of human vulnerability and the dialect coaching of Adrianne Moore helps the actors fully flesh-out their characters.“
Utah Theatre Bloggers Association
Silent Dancer
“Mikki Reeve is stunning as Rosie. Her dreams are realities in her eyes, and she expertly conveys her yearnings through her thoughtful speeches and skilled dance steps. The dialect coaching by Adrianne Moore is impressive.”
Broadway World
“All four successfully create fascinating characters that move fluidly between relatively realistic scenes and segments where movement takes over. Dialect coach Adrianne Moore does a great job with the dialects.”
Gephardt Daily
Our Country’s Good
“The group of 10 actors plays a total of 22 parts, switching class, accents, and genders in the blink of an eye. As challenging as the doubling must be for the performers, it is fascinating to watch the actors switch back and forth between roles seamlessly.”
Gwendolyn Rice (Playwright)
Streetlight Woodpecker
“On the play’s inaugural night, the actors nailed the Philadelphian dialect (a credit to the coaching of Adrianne Moore), which didn’t feel over-emphasized."
Artists of Utah
Tribes
“Dialect coach Adrianne Moore deserves special recognition. Accents done well are easy to overlook, whereas poorly executed accents can distract from the efforts of everyone else in a show. In Tribes, the characters’ brand of southern English accents clearly communicated their educated middle-class status and stayed consistent throughout the show."
Utah Theatre Bloggers Association
Good People
“As played by actor Nell Gwynn, Margaret's vulnerability is expressed in the awkward way she turns her head in discomfort when she's embarrassed or in the way her long fingers flutter when she's explaining away all the reasons she is late to work. Thanks to Gwynn's awkward movements and her just-right delivery of a South Boston accent (under the direction of dialect coach Adrianne Moore), the actor embodies Margaret with authenticity."
Salt Lake Tribune
Boeing Boeing
“Gloria (Sara J. Griffin) is a brassy, opinionated American who works for TWA. Gabriella (Tracie Thomason) is a charming, emotional Italian who flies with Alitalia. And Gretchen (Nell Geisslinger) is an athletic, autocratic German with Lufthansa. Vocal coach Adrianne Moore makes sure that each accent is distinct and intelligible. Only a Frenchman could write Boeing Boeing. And only the Utah Shakespeare Festival could create a production that is so clever and enjoyable."
Herald Journal
Testimonials
“Adrianne Moore was not only a rockstar voice and text coach, but also a real collaborator and thought partner. “
Kiera Fromm (Director, American Players Theatre)
“Adrianne creates stage dialect precision while building actor confidence, so audiences deeply receive the playwright's story and easily hear every idea and nuance.”
Jan Gist (Voice/Dialect/Text Director, The Old Globe Theatre)
“Adrianne is a fountain of knowledge and experience. She is able to identify the specific needs of each actor and customize her instruction to best suit those unique needs. She is an absolute joy to work with.”
Sydnee Fullmer (Actor)
“Adrianne helps me feel like the dialect is my own, so that it stops being an obstacle to the rest of the work I’m doing as an actor. Dialects are difficult for me. They feel like wearing a suit that’s not my own. Adrianne has a way of helping me to feel that the dialect is mine.”