Mother of the Maid, Marin Theatre Company
"Rosie Hallett is delightful as the Joan we first meet – a defiant, determined girl who is both playful and pushy as she sits at her mom’s kitchen table awkwardly, then forcefully revealing her visions and plans. As she turns into soldier, prisoner, and then martyr-to-be, we watch an incredible tour-de-force arc of transformations as her Joan is an evolving combination of heroic in bravery, reckless in bragging, pious in prayer, fearless in chains, and finally frightfully fearful in her mother’s arms for the last time."
--Eddie Reynolds, Theatre Eddys
"Rosie Hallett imbues her Joan with a fierce passion and a charisma that had me ready to armor up and join her quest."
--Patrick Thomas, Talkin' Broadway
"The early scenes are packed with humor, especially in the rough manners of Rosie Hallett’s sullen, stubborn and plain-spoken Joan. Mission from God or no, Hallett’s Joan is formidable, more than able to hold her own in the sudden bursts of violence that pepper family arguments."
--Sam Hurwitt, Marin Independent Journal
"Joan Arc, played by Rosie Hallett, was the perfect complement to Sherman Fracher's Isabelle. A forthright daughter with a mind of her own, she caught the conviction, trepidation, and singular determination of Joan perfectly."
--Hannah Yurke, Ronnie's Awesome List
"Rosie Hallett is delightful as the Joan we first meet – a defiant, determined girl who is both playful and pushy as she sits at her mom’s kitchen table awkwardly, then forcefully revealing her visions and plans. As she turns into soldier, prisoner, and then martyr-to-be, we watch an incredible tour-de-force arc of transformations as her Joan is an evolving combination of heroic in bravery, reckless in bragging, pious in prayer, fearless in chains, and finally frightfully fearful in her mother’s arms for the last time."
--Eddie Reynolds, Theatre Eddys
"Rosie Hallett imbues her Joan with a fierce passion and a charisma that had me ready to armor up and join her quest."
--Patrick Thomas, Talkin' Broadway
"The early scenes are packed with humor, especially in the rough manners of Rosie Hallett’s sullen, stubborn and plain-spoken Joan. Mission from God or no, Hallett’s Joan is formidable, more than able to hold her own in the sudden bursts of violence that pepper family arguments."
--Sam Hurwitt, Marin Independent Journal
"Joan Arc, played by Rosie Hallett, was the perfect complement to Sherman Fracher's Isabelle. A forthright daughter with a mind of her own, she caught the conviction, trepidation, and singular determination of Joan perfectly."
--Hannah Yurke, Ronnie's Awesome List
Top Girls, American Conservatory Theater
"[Marlene's] guests are [. . .] so distinctly drawn and so beautifully embodied by the actors in director Tamilla Woodard’s excellent revival at American Conservatory Theater . . . The [dinner] scene is funny, rich, deeply moving as it clips along, full of rapid-fire, overlapping dialogue, a rambling monologue by Pope Joan (Rosie Hallett) delivered in Latin, simultaneous chatter. Don’t expect to catch every word, but you might wish it would never end."
--Jean Schiffman, SF Examiner
"Even amidst the scene's swirl of competing egos, Rosie Hallett's garrulous Groucho of a Pope and Summer Brown's largely silent Harpo warrior are standout comic turns."
--Jim Gladstone, Bay Area Reporter
"Pope Joan (heavenly Rosie Hallett) drapes her golden robe with magnificent red silk lining over here chair and, like a good preacher, Hallett gives her the power to mesmerize us. We recognize Joan as a literal model of a woman who invades the patriarchy to get ahead."
--Jordan Freed, Theatrius
Men on Boats, American Conservatory Theater
"When the rickety boats headed down a steep waterfall, I found myself gripping the sides of the theater seat, white-knuckled. But mapmaker Hall’s (Rosie Hallett) absolute joy at the precipitous descent was contagious. I was thrilled to be on the journey with this eccentric, endearing crew – and so will you. It’s a great ride."
--Elaine Elinson, 48 Hills
Red Speedo, Center Repertory Company
"Peter and everyone else in "Red Speedo," directed incisively by Markus Potter, are unshakably, congenitally convinced that they deserve to win. Ray and Coach crave the Olympic gold. Peter yearns for enough money to send his daughter not to a "free school" but to "an expensive school." Ray's ex Lydia (Rosie Hallett) knows she ought to have won a legal battle over her license as a sports therapist, despite the fact that she knowingly broke the law for profit . . . Hallett is so shifty as Lydia that you expect fresh schemes to tumble out of the pockets of her hoodie."
--Lily Janiak, SF Chronicle
"Rosie Hallett's Lydia is a fascinating character in herself. Ray's former sports therapist and ex-girlfriend, Lydia has been through hell but regards her plight with seeming equanimity and rueful amusement, and her wary perplexity at what Ray wants from her electrifies their scene together."
--Sam Hurwitt, The Mercury News
peerless, Marin Theatre Company
"Under Margot Bordelon's aggressive direction, the five-actor ensemble deserves kudos for their comic timing, with special praise going to Rosie Hallett, who never fails to impress audiences with her versatility."
--George Heymont, The Huffington Post
"Dirty Girl disgusts and mesmerizes, dragging on a cigarette and ignoring expectations . . . Rosie Hallett's Dirty Girl is grounded with an air of dark prophecy to her, adding layers of magical realism that leave the audience wondering if perhaps she does see the future."
--Alexa Chipman, Imagination Lane
The Winter's Tale, San Francisco Shakespeare Festival
"Of note is Rosie Hallett as the 16-year-old Perdita, who's been raised by Old Shepherd (Phil Lowery), believing herself the queen only "of curds and cream," but nonetheless having captured the heart of Polixenes' son Florizel (Davern Wright). It's an ingénue role, but Hallett makes Perdita feel like a fresh character type; she finds drama in an ingénue's virtue by limning her every line in her character's fear of misdeed."
--Lily Janiak, San Francisco Chronicle
Stories by Emma Donoghue and Colm Toibin, Word for Word Performing Arts Company
"From the opening of 'Vision,' as a blind 9-year-old Franny gropes through a forest in enchanted discovery, Rosie Hallett is completely mesmerizing . . . Hallett richly embodies Franny's story."
--Robert Hurwitt, San Francisco Chronicle
"As played by Hallett and under the smooth direction of Becca Wolff, Franny is a life force who refuses to be cowed by the stupidity and cruelty of others . . . Night Vision is a beautiful story gently and sensitively brought to life by Wolff and her sharp six-person ensemble headed by the luminous Hallett."
--Chad Jones, Theater Dogs
"The performance by Rosie Hallett as the young blind Franny was detailed, judicious, quiet and unforced, carefully thought through — not merely heartfelt, but heart-touching without seeming effort--in short, inspired."
--Christopher Bernard, SynchChaos
"Rosie Hallett is absolutely brilliant as young Franny . . . [In Silence,] one might not recognize Rosie Hallett, whose performance as Lady Blunt is as different as night and day from her role as Franny."
--Kedar Adour, For All Events
The Country House, TheatreWorks Silicon Valley
"A magnetically disgruntled Rosie Hallett . . .Hallett’s conflicted Susie — resentful and sexually curious — emerges as one of the emotional cruxes of the action. . ."
--Robert Hurwitt, San Francisco Chronicle
"Hallett has the most engaging character, the only family member who isn't a drama queen. Susie's earnestness and freshness, nicely evoked by Hallett, soften the play's tragic overtones."
--Karen D'Souza, San Jose Mercury
"We see almost everything from the perspective of Susie. Rosie Hallett gives us a 20-something who’s sophisticated enough to pick up on all the nuances in the room, while being young enough to be vulnerable to it all. Hallett balances the demands of this role perfectly, making her character (the only non-actor in this theatre family) the most trustworthy of the lot."
--Cy Ashley Webb, Stark Insider
Top Girls, Shotgun Players
"The first scene alone is an irresistible theatrical feast, a dinner party for six notably headstrong women . . . [including] Rosie Hallett’s rivetingly silent, ravenous Dull Gret, the central sword-wielding figure in a Brueghel painting, leading women into battle against the devils of hell . . . It's well worth paying attention, especially when Angie (Hallett) waxes enthusiastic about her aunt Marlene. The coming showdowns among Marlene, Joyce and Angie blend politics, class enmity and personal loss in a manner still as revelatory as it is emotionally fraught."
--Robert Hurwitt, San Francisco Chronicle
"Act I opens with a dinner party [whose guests include] Dull Gret, a hellbent, devil-fighting warrior depicted in a 1562 Flemish Renaissance painting by Pieter Bruegel the Elder (played with fierce appetite by Rosie Hallett) . . . [Later,] the friction between dreams and hardcore reality transfers to an awful — and, occasionally, awfully funny — interaction between two young girlfriends (Rosie Hallett and Aily Kei Roper). The girls’ dark humor and exaggerated promises and threats hit such a pure element of truth that it’s hard not to gasp at the accuracy."
--Lou Fancher, SF Weekly
Harry Thaw Hates Everybody, Shotgun Players
"Evelyn, played with blithe charm by Rosie Hallett, introduces the action and has the last word . . . Evelyn’s ambiguous viewpoint plays out in a surreal scenario, like a drug-induced dream. Did she truly love White, the sugar daddy who deflowered her at 16? Why did she marry the abusive Thaw? Was she in some way complicit in White’s murder? We’re having too much fun to care."
--Jean Schiffman, SF Examiner
"A fresh-faced Rosie Hallett . . . has the right charisma for Evelyn, coloring the tragic figure with mystery and spunk, leaving you yearning to know more about Nesbit's fate in the years after the trial."
--Karen D'Souza, The San Jose Mercury
"Rosie Hallett's Nesbit is a beguiling mistress of ceremonies and beleaguered sex symbol trying to find her way in a world where she's a commodity."
--Robert Hurwitt, San Francisco Chronicle
You Know When the Men Are Gone, Word for Word
"The Last Stand, directed by Joel Mullennix, is the story of a maimed soldier returning to Fort Hood, Texas, from Iraq, and to a wife waiting to tell him it's over. She can't take military base life anymore, and his shattered leg means they can't afford for him to quit the service. It's a common tale, but Chad Deverman's Kit invests it with intense personal significance. His anxiety about his marriage eclipses the effects of that Humvee explosion in Sadr City. Roselyn Hallett's determined but gentle, caring Helena makes it even more difficult. He, and we, love her all the more for the generosity and courage it takes for her to tell him face to face."
--Robert Hurwitt, San Francisco Chronicle
"The ensemble is very strong, with standout turns from the mutually sympathetic but achingly at-odds characters played by Deverman and Hallett."
--Robert Avila, Bay Area Guardian
"Word for Word's ensemble is, as usual, excellent. Chad Deverman is particularly strong as Kit, a returned soldier . . . Roselyn Hallett is equally compelling as his conflicted girlfriend. Helena is drawn away from him, and not for conventionally strong reasons, yet Hallett, through the force of her sadness, never makes Helena seem like an abandoner."
--Lily Janiak, SF Weekly
Mrs.Warren's Profession, Pear Avenue Theatre
"Hallett is exhilarating whenever she's on stage. Almost effortlessly she faithfully embodies the unconventional characteristics Shaw gave his Cambridge-educated heroine."
--Joanne Engelhardt, San Jose Mercury
Imaginary Love, Hapgood Theatre Company
"As the play opens, Lyle (Michael Barrett Austin), a nerdy technical consultant, is on his first date with the sizzling hot Nell (Roselyn Hallett) who also happens to be a leading electrical engineering expert who 'knows enough to fill a small country.' Hallett, meanwhile, is a hoot as the wild (often scantily clad) Nell, who wants to play sex games and have fun without commitments. Smart and charming, she talks incessantly and cringes at the thought of staying the night, which she equates with 'the beginning of the end.'"
--Judith Prieve, Contra Costa Times
Killer Joe, Renegade Theatre Experiment
"Dottie is the heart of the play, the character we care about. Ms. Hallett is superb in her achingly poignant portrayal. A tendril of empathy connects Dottie to the audience so that as the first act proceeds, the anticipation of what would happen to her at the hands of Killer Joe creates an almost unbearable dramatic tension that I, for one, can still feel as I write this a dozen hours later."
--Paul Myrvold, Out and About Magazine.com
"A pathos-filled tour-de-force by Roselyn Hallett."
--David John Chavez, San Jose Examiner
Enchanted April, Broadway West
"The revelation is Roselyn Hallett as the prim and proper Rose Arnott . . . the moment when Italy works its magic on the buttoned-up Rose and the lines on her face slowly relax into a measure of peace and joy is particularly worth waiting for."
--Vidya Pradhan, Tri-City Voice
Doubt, New Conservatory Theatre Center
"Roselyn Hallett, in the most consistently inhabited performance in the play, enacts [Sister James] with a palpable sense of compassion."
--Albert Goodwyn, SF Examiner
"As the idealistic young Sister James, who becomes a pawn in the dangerous game being played, Roselyn Hallett projects just the right combination of innocence, fear, and shock."
--Richard Dodds, Bay Area Reporter
See How They Run, Broadway West
"Hallett is wonderfully adorable and funny as capable maid Ida."
--Julie Grabowski, Tri-City Voice
Translations, Stanford Summer Theater
"Roselyn Hallett makes a memorable contribution as the young woman Sarah, mute until recently who is rendered mute once more under Captain Lancey's badgering . . . her non-verbal performance is exceptional."
--Kevin Kirby, Palo Alto Weekly
"[Marlene's] guests are [. . .] so distinctly drawn and so beautifully embodied by the actors in director Tamilla Woodard’s excellent revival at American Conservatory Theater . . . The [dinner] scene is funny, rich, deeply moving as it clips along, full of rapid-fire, overlapping dialogue, a rambling monologue by Pope Joan (Rosie Hallett) delivered in Latin, simultaneous chatter. Don’t expect to catch every word, but you might wish it would never end."
--Jean Schiffman, SF Examiner
"Even amidst the scene's swirl of competing egos, Rosie Hallett's garrulous Groucho of a Pope and Summer Brown's largely silent Harpo warrior are standout comic turns."
--Jim Gladstone, Bay Area Reporter
"Pope Joan (heavenly Rosie Hallett) drapes her golden robe with magnificent red silk lining over here chair and, like a good preacher, Hallett gives her the power to mesmerize us. We recognize Joan as a literal model of a woman who invades the patriarchy to get ahead."
--Jordan Freed, Theatrius
Men on Boats, American Conservatory Theater
"When the rickety boats headed down a steep waterfall, I found myself gripping the sides of the theater seat, white-knuckled. But mapmaker Hall’s (Rosie Hallett) absolute joy at the precipitous descent was contagious. I was thrilled to be on the journey with this eccentric, endearing crew – and so will you. It’s a great ride."
--Elaine Elinson, 48 Hills
Red Speedo, Center Repertory Company
"Peter and everyone else in "Red Speedo," directed incisively by Markus Potter, are unshakably, congenitally convinced that they deserve to win. Ray and Coach crave the Olympic gold. Peter yearns for enough money to send his daughter not to a "free school" but to "an expensive school." Ray's ex Lydia (Rosie Hallett) knows she ought to have won a legal battle over her license as a sports therapist, despite the fact that she knowingly broke the law for profit . . . Hallett is so shifty as Lydia that you expect fresh schemes to tumble out of the pockets of her hoodie."
--Lily Janiak, SF Chronicle
"Rosie Hallett's Lydia is a fascinating character in herself. Ray's former sports therapist and ex-girlfriend, Lydia has been through hell but regards her plight with seeming equanimity and rueful amusement, and her wary perplexity at what Ray wants from her electrifies their scene together."
--Sam Hurwitt, The Mercury News
peerless, Marin Theatre Company
"Under Margot Bordelon's aggressive direction, the five-actor ensemble deserves kudos for their comic timing, with special praise going to Rosie Hallett, who never fails to impress audiences with her versatility."
--George Heymont, The Huffington Post
"Dirty Girl disgusts and mesmerizes, dragging on a cigarette and ignoring expectations . . . Rosie Hallett's Dirty Girl is grounded with an air of dark prophecy to her, adding layers of magical realism that leave the audience wondering if perhaps she does see the future."
--Alexa Chipman, Imagination Lane
The Winter's Tale, San Francisco Shakespeare Festival
"Of note is Rosie Hallett as the 16-year-old Perdita, who's been raised by Old Shepherd (Phil Lowery), believing herself the queen only "of curds and cream," but nonetheless having captured the heart of Polixenes' son Florizel (Davern Wright). It's an ingénue role, but Hallett makes Perdita feel like a fresh character type; she finds drama in an ingénue's virtue by limning her every line in her character's fear of misdeed."
--Lily Janiak, San Francisco Chronicle
Stories by Emma Donoghue and Colm Toibin, Word for Word Performing Arts Company
"From the opening of 'Vision,' as a blind 9-year-old Franny gropes through a forest in enchanted discovery, Rosie Hallett is completely mesmerizing . . . Hallett richly embodies Franny's story."
--Robert Hurwitt, San Francisco Chronicle
"As played by Hallett and under the smooth direction of Becca Wolff, Franny is a life force who refuses to be cowed by the stupidity and cruelty of others . . . Night Vision is a beautiful story gently and sensitively brought to life by Wolff and her sharp six-person ensemble headed by the luminous Hallett."
--Chad Jones, Theater Dogs
"The performance by Rosie Hallett as the young blind Franny was detailed, judicious, quiet and unforced, carefully thought through — not merely heartfelt, but heart-touching without seeming effort--in short, inspired."
--Christopher Bernard, SynchChaos
"Rosie Hallett is absolutely brilliant as young Franny . . . [In Silence,] one might not recognize Rosie Hallett, whose performance as Lady Blunt is as different as night and day from her role as Franny."
--Kedar Adour, For All Events
The Country House, TheatreWorks Silicon Valley
"A magnetically disgruntled Rosie Hallett . . .Hallett’s conflicted Susie — resentful and sexually curious — emerges as one of the emotional cruxes of the action. . ."
--Robert Hurwitt, San Francisco Chronicle
"Hallett has the most engaging character, the only family member who isn't a drama queen. Susie's earnestness and freshness, nicely evoked by Hallett, soften the play's tragic overtones."
--Karen D'Souza, San Jose Mercury
"We see almost everything from the perspective of Susie. Rosie Hallett gives us a 20-something who’s sophisticated enough to pick up on all the nuances in the room, while being young enough to be vulnerable to it all. Hallett balances the demands of this role perfectly, making her character (the only non-actor in this theatre family) the most trustworthy of the lot."
--Cy Ashley Webb, Stark Insider
Top Girls, Shotgun Players
"The first scene alone is an irresistible theatrical feast, a dinner party for six notably headstrong women . . . [including] Rosie Hallett’s rivetingly silent, ravenous Dull Gret, the central sword-wielding figure in a Brueghel painting, leading women into battle against the devils of hell . . . It's well worth paying attention, especially when Angie (Hallett) waxes enthusiastic about her aunt Marlene. The coming showdowns among Marlene, Joyce and Angie blend politics, class enmity and personal loss in a manner still as revelatory as it is emotionally fraught."
--Robert Hurwitt, San Francisco Chronicle
"Act I opens with a dinner party [whose guests include] Dull Gret, a hellbent, devil-fighting warrior depicted in a 1562 Flemish Renaissance painting by Pieter Bruegel the Elder (played with fierce appetite by Rosie Hallett) . . . [Later,] the friction between dreams and hardcore reality transfers to an awful — and, occasionally, awfully funny — interaction between two young girlfriends (Rosie Hallett and Aily Kei Roper). The girls’ dark humor and exaggerated promises and threats hit such a pure element of truth that it’s hard not to gasp at the accuracy."
--Lou Fancher, SF Weekly
Harry Thaw Hates Everybody, Shotgun Players
"Evelyn, played with blithe charm by Rosie Hallett, introduces the action and has the last word . . . Evelyn’s ambiguous viewpoint plays out in a surreal scenario, like a drug-induced dream. Did she truly love White, the sugar daddy who deflowered her at 16? Why did she marry the abusive Thaw? Was she in some way complicit in White’s murder? We’re having too much fun to care."
--Jean Schiffman, SF Examiner
"A fresh-faced Rosie Hallett . . . has the right charisma for Evelyn, coloring the tragic figure with mystery and spunk, leaving you yearning to know more about Nesbit's fate in the years after the trial."
--Karen D'Souza, The San Jose Mercury
"Rosie Hallett's Nesbit is a beguiling mistress of ceremonies and beleaguered sex symbol trying to find her way in a world where she's a commodity."
--Robert Hurwitt, San Francisco Chronicle
You Know When the Men Are Gone, Word for Word
"The Last Stand, directed by Joel Mullennix, is the story of a maimed soldier returning to Fort Hood, Texas, from Iraq, and to a wife waiting to tell him it's over. She can't take military base life anymore, and his shattered leg means they can't afford for him to quit the service. It's a common tale, but Chad Deverman's Kit invests it with intense personal significance. His anxiety about his marriage eclipses the effects of that Humvee explosion in Sadr City. Roselyn Hallett's determined but gentle, caring Helena makes it even more difficult. He, and we, love her all the more for the generosity and courage it takes for her to tell him face to face."
--Robert Hurwitt, San Francisco Chronicle
"The ensemble is very strong, with standout turns from the mutually sympathetic but achingly at-odds characters played by Deverman and Hallett."
--Robert Avila, Bay Area Guardian
"Word for Word's ensemble is, as usual, excellent. Chad Deverman is particularly strong as Kit, a returned soldier . . . Roselyn Hallett is equally compelling as his conflicted girlfriend. Helena is drawn away from him, and not for conventionally strong reasons, yet Hallett, through the force of her sadness, never makes Helena seem like an abandoner."
--Lily Janiak, SF Weekly
Mrs.Warren's Profession, Pear Avenue Theatre
"Hallett is exhilarating whenever she's on stage. Almost effortlessly she faithfully embodies the unconventional characteristics Shaw gave his Cambridge-educated heroine."
--Joanne Engelhardt, San Jose Mercury
Imaginary Love, Hapgood Theatre Company
"As the play opens, Lyle (Michael Barrett Austin), a nerdy technical consultant, is on his first date with the sizzling hot Nell (Roselyn Hallett) who also happens to be a leading electrical engineering expert who 'knows enough to fill a small country.' Hallett, meanwhile, is a hoot as the wild (often scantily clad) Nell, who wants to play sex games and have fun without commitments. Smart and charming, she talks incessantly and cringes at the thought of staying the night, which she equates with 'the beginning of the end.'"
--Judith Prieve, Contra Costa Times
Killer Joe, Renegade Theatre Experiment
"Dottie is the heart of the play, the character we care about. Ms. Hallett is superb in her achingly poignant portrayal. A tendril of empathy connects Dottie to the audience so that as the first act proceeds, the anticipation of what would happen to her at the hands of Killer Joe creates an almost unbearable dramatic tension that I, for one, can still feel as I write this a dozen hours later."
--Paul Myrvold, Out and About Magazine.com
"A pathos-filled tour-de-force by Roselyn Hallett."
--David John Chavez, San Jose Examiner
Enchanted April, Broadway West
"The revelation is Roselyn Hallett as the prim and proper Rose Arnott . . . the moment when Italy works its magic on the buttoned-up Rose and the lines on her face slowly relax into a measure of peace and joy is particularly worth waiting for."
--Vidya Pradhan, Tri-City Voice
Doubt, New Conservatory Theatre Center
"Roselyn Hallett, in the most consistently inhabited performance in the play, enacts [Sister James] with a palpable sense of compassion."
--Albert Goodwyn, SF Examiner
"As the idealistic young Sister James, who becomes a pawn in the dangerous game being played, Roselyn Hallett projects just the right combination of innocence, fear, and shock."
--Richard Dodds, Bay Area Reporter
See How They Run, Broadway West
"Hallett is wonderfully adorable and funny as capable maid Ida."
--Julie Grabowski, Tri-City Voice
Translations, Stanford Summer Theater
"Roselyn Hallett makes a memorable contribution as the young woman Sarah, mute until recently who is rendered mute once more under Captain Lancey's badgering . . . her non-verbal performance is exceptional."
--Kevin Kirby, Palo Alto Weekly