Dollhouse by Rebecca Gilman

Directed by Eva LaPorte

“Nora, the feminist heroine (some may challenge this characterization) is played by Rachael Logue with such warmth and charm, dazzling smile, sultry, voluptuous body and mercurial changes in mood that the audience, myself among them, can’t get enough of her.

…Logue’s Nora, who commands the stage and our attention with such a finely nuanced performance that it may well be the triumph of the year.

…as brilliant direction, outstanding acting and a ground-breaking performance by Rachael Logue combine to create theatrical magic. This is exciting theater – don’t miss it.”

—Jim J. Tommaney, Houston Press

“Rachael Logue makes a marvelous modern-day Nora. She’s just what the role demands, in that she can be simultaneously incorrigible (in what she does) and winning (in the way she does it). She’s seductive, impulsive, manipulative, a blend of childlike innocence and reckless wrong-headedness. Yet when she must finally face the truth, stand up for herself and her choices, she’s a pillar of angry strength.”

—Everett Evans, Houston Chronicle

Grey Gardens

Directed by Kenn McLaughlin

“In a prescient, impressionistic first act, it’s 1941, and Edith (Nancy Johnston) is preparing an engagement party for her daughter “Little” Edie (Rachael Logue in a most impressive Stages debut)”

—D.L. Groover, Houston Press

  “Rachael Logue is likewise fine as the young Edie of Act 1. She’s full of hope and yearning, frustrated at her inability to escape her mother’s meddling and her own reputation, and her voice is lovely.”

—Everett Evans, Houston Chronicle

Thoroughly Modern Millie

Directed by Craig Miller

“With her very lovely voice, a radiant Logue delivers a vocal winner right off the bat with the optimistic, “Not For the Life of Me”… Then we get another chance to hear Logue’s powerful voice with her joyous, beaming and sassy, “Gimme Gimme.”

—David Dow Bentley III, The People’s Critic

“Even Logue’s comic timing is perfection. In a scene in Act II where she is trying to seduce her boss while sitting in a swivel chair, she falls off the chair and every time she tries to get back on it, the chair slips out from under her one more time, over and over again. This is the comic genius we have seen before in Carol Burnett and Lucille Ball. So now we have a new comedian to watch—the inimitable Rachael Logue.”

—Buzz Bellmont “The Critic’s Critic”, chron.com

Machinal by Sophie Treadwell

Directed by Troy Scheid

“As far as characters are concerned, Rachael Logue turn as the Telephone Girl has to be considered a favorite. In a play with such a weighty subject, the brief glimpses of comedy are unexpected yet overwhelming. Her lines, delivered in the Flapper Era New York accent, brought a brightness to the production that served to highlight the contrasting darkness of the true focus of Machinal.”

—Paul, The Loop Scoop

Stick Fly 

Directed by Eileen J. Morris

“Rachael Logue turns in a deft and nuanced portrayal as Kimber, navigating the domestic land mines with aplomb.”

—Everett Evans, Houston Chronicle

The Marvelous Wonderettes

Directed by Melissa Rain Anderson

“What makes Stages’ production well nigh irresistible is its terrific and talented cast. For singing, comedic skill and sheer personality, on a scale of 10, each of the four stars rates at least 11… Rachael Drees Logue radiates Cindy Lou’s confidence, slightly phony sweetness and sense of entitlement…All sing with vigor, force and style, whether going solo or in their adroit harmonizing.”

—Everett Evans, Houston Chronicle

Steel Magnolias by Robert Harling  

Directed by Kenn McLaughlin

“Rachael Logue simply shines as Annelle Dupuy Desoto. Like the women in the show, even though most of us already knew her plot, the audience could not wait for her to spill her story and heart out. Despite knowing what was coming, Rachael Logue’s performance is so heart-felt and sincere that the revelation of Annelle’s past still genuinely made the audience feel for her and root for her to overcome her “personal tragedy.” From the opening moment to the last, Rachael Louge is consummately committed to Annelle, whether it be her zany behavior or her highly anticipated and deftly delivered final quip at Ouiser’s expense.”

“Quite possibly the best aspect of Stages’ STEEL MAGNOLIAS is that each of the six women cast in the show completely avoids mimicking the performances given in the film.”

David Clarke, for BroadwayWorld.com

 

Smoke On The Mountain

Directed by Rachel Mattox

“Meanwhile, his sister Denise keeps the laughter coming as she tells the story of how she auditioned with David O. Selznick for the part of Scarlett O’Hara in “Gone With the Wind,” with Miss Logue showing a great flair for comedy.

—David Dow Bentley III, The People’s Critic