Mata Hari - Without question, Mitchell gave a riveting performance.
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.
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.
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.
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.