Mata Hari - Without question, Mitchell gave a riveting performance.
Mata Hari - By taking a physical rather than vocal approach, Mitchell’s performance is a strong one: nervous and taut, Mata Hari comes across like a caged animal, constantly in search of the moment she can bolt.
Mata Hari - Tina Mitchell (gave a) magnetic performance. On stage throughout, she commanded every scene, and her lithe movements handsomely served the opera’s balletic requirements.
Miss Julia - Tina Mitchell uniquely embodies the female protagonist’s ambiguous personality using a combination of playful, ironic and melodramatic registers.
Macbeth - Tina Mitchell is solid as Lady Macbeth. Her portrayal clearly shows a woman who is possessed, persuasive and determined. Her slow progression into insanity, with a marvelously played sleep walking scene, is stunning and chilling.
Macbeth - Mitchell’s Lady Macbeth, for all her frenzied, greedy, disillusioned fights for power and notoriety, is still tangibly real .... her choices provide the audience a profoundly sad, desperately struggling woman. One whose madness we understand.
Manon/Sandra - Mitchell has trained with the SITI company, and it shows: Her physicality is riveting. As she hurtles manically through the story of her illicit passion for an overly lavish rosary, her body speaks the language of obsession, ecstasy and self-punishment; across the stage.
Manon/Sandra - Mitchell delivers an appropriately grating, physically brave performance as Manon
The Most Massive Woman Wins - All four actors provide raw and evocative performances... Tina Mitchell is admirably brutal as Rennie
Mata Hari Reviews:
New York Times: Mata Hari, A Different kind of Queen of the Night.
New York Classical Review: Prototype Opens with absorbing, finely crafted Mata Hari.
Wall Street Journal: Mata Hari at The Prototype Festival, the Showcase for Innovative Opera.
I Care if You Listen: Matt Marks' Mata Hari.
Stagebuddy: Mata Hari, 2017 Prototype Festival.
Photography by Andrew Thurman.