Berman’s character looks like a ghost, a consequence, you intuit, of post-traumatic stress disorder, but also of her role as an outsider, a kind of emissary from another time and place. You blink out from your seat at what Berman and Stalling have created here, and I swear you see a woman carrying a great burden on her shoulders, and so the stakes of the drama rise exponentially.
— Chris Jones, Chicago Tribune
Poised yet vulnerable
— Chris Jones, Chicago Tribune
Berman, a young newcomer to Chicago, is a beautiful and vulnerable actress
— Chris Jones, Chicago Tribune
Emily Berman, choreographed as the eye of the family storm, shouts to be heard, spins pretty top notes flecked with dreams, and displays a warm middle voice that beautifully matches her hard-won self-reliance.
— Aaron Hunt, New City Stage
...a slender beauty with an almond-shaped face, easy intelligence and lovely voice”
— Hedy Weiss, Chicago Sun Times
Emily Berman’s subtle performance as the emotionally overwhelmed Tessa is only surpassed by her extraordinary alto.
— J. Scott Hill, Chicago Stage Review
The piece opens on the wedding day of Tessa (Emily Berman, a newcomer with a remarkable presence and earthy, penetrative voice)
— Kris Vire, Time Out Chicago
Berman beautifully evokes a portrait of a young woman trying to find her emotional legs following the collapse of her wedding. Tessa is hurting inside, but Berman gives her a brave front that exhibits a maturity which asks for no coddling from parents who would love to coddle her.
— Dan Zeff, Chicagoland Theater Reviews
Besides having a beautiful voice for singing the Blues (and the only one to sing live), Berman’s unloved wife moves from stoic resolve to collapse in heartrending fashion.
— Clint May, Chicago Theater Beat
Berman was the standout, depicting a woman who’s striving to provide her politically dissembled country with an identity, a privileged place in art history, and thus a respected name in the world
— Jenn McKee, Ann Arbor News