New York

“The actresses were fine, with Connie Winston a stand-out. Ironically, her exceptional charm and putty face, which captured the rhythms and sassiness of her African-American heritage, yielded the most authentic ‘Jewishness’ of the piece.” The Art of Remembering by Adina Ruskin
Marshall Yaeger,

“For the major part of the play, Mom (Connie Winston) is reincarnated as a fish and spends the time on stage in an “aquarium.” Connie Winston is the perfect Mom and the quintessential fish! She is in constant motion, “gills” moving and mouth opening to allow “water” to flow through her system. Being on stage for as long as she is and being in constant motion is not easy; however, Ms. Winston not only makes it look easy, she brings wonderful life to this role and is truly the anchor for this play.” Fishes by Diana Son

Three Actors – Keith Adkins, Arthur French, and Connie Winston – moved with the articulation of dancers, their bodies shaping images in the air while their voices propelled Sapphire’s stream of words across the space. That they held pages of text in their hands as they performed had a magical effect on the action. American Dream/Black Wings and Blind Angels by Sapphire
Art Forum

Ms. Flanagan is joined by Christopher McHale, Christopher Edwards and Connie Winston in giving excellent support to Mr. Daggett in a variety of roles. Lemkin’s House by Catherine Filloux
Neil Genzlinger, New York Times

“…and Connie Winston is memorable as the woman of Ruanda…” Lemkin’s House by Catherine Filloux
Irene Backalenick,

Out of Town

“As Suzy, Connie Winston gives a truly dimensional performance. Flamboyant and dynamic, Winston with her flashing golden eyelids, outlandish dress and charismatic personality, gives the kind of excellent high-level characterization this production demands.” Hot L Baltimore by Lanford Wilson
Winifred Walsh, Baltimore Evening Sun

“The extraordinary Connie Winston. Both actors turn in compelling performances. Despite their relative youth, each one creates and inhabits a much older body, with complete conviction and no stereotypes. As sweet sister Sadie, Connie Winston goes into delightfully helpless ladylike laughter.” Having Our Say by Emily Mann
Judith Pratt, The Ithaca Journal

Connie Winston’s Sadie gets the most powerful scene; she raises the emotional pitch in evoking the death of their mother in advanced years when the three of them already lived in the New York City suburbs.” Having Our Say by Emily Mann
James MacKillop, Syracuse New Times

“In pursuit of the mysterious Libby (compelling Connie Winston), who appears episodically to speak or act out “her” memoirs…” Bee-luther-hatchee by Thomas Gibbons
Marie J. Kilker,

“Connie Winston, as Libby herself, is pitch perfect.” Bee-luther-hatchee by Thomas Gibbons
Kay Kipling, Herald Tribune (Sarasota)

“Connie Winston speaks with power and poetry in flashback scenes taken from the author’s story. She’s a spectral, ghostly figure who calls herself a “smoke soul,” drifting from town to town, the past, drifting through human memory now and never quite real.” Bee-luther-hatchee by Thomas Gibbons
Marty Fugate The Longboat Observer (Sarasota)

“Strong, focused and intense performance.” Bee-luther-hatchee by Thomas Gibbons
Karen Mamone, (Sarasota)

Connie Winston’s turn as Mrs. Muller displays a stringy determination that lies underneath a swath of pain and a thin veneer of civility. It is a single scene she appears in, but the impact of her work is much larger – and quite painful as well. Doubt by John Patrick Shanley
Nancy Ruby,

Connie Winston plays Mrs. Muller, the mother of the boy who may have been abused by Father Flynn. Winston has in some ways the most difficult scene in the entire play as her reaction to the possible abuse is, to say the least, surprising. That she pulls off the scene with such skill is noteworthy. Doubt by John Patrick Shanley
Matthew Falduto,


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