“Dark tale of illicit passion...The play would benefit from slowing down somewhat as the breakneck pace inhibits the opportunity to truly get to know the characters...There is a plot twist late in the play...Unfortunately, the development is both too sudden and wildly unbelievable, and the play never completely recovers...By the end of the evening we know where we are and how we got there — which may be more than can be said for the existentially adrift main character."
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"As a solo play, it’s a straightforward memory piece that has some film noir twists such as getting away with murder but is not very compelling...The blonde and animated Ms. DiLorenzo employs a slight Scandinavian accent, is quite engaging and holds attention for 75-minutes. It’s a strong performance exhibiting a range of emotion in routine material. Director Kathy Curtiss’ staging of the bulk of the piece is smooth and varied."
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"It’s difficult to find any socially redeeming value in 'Beloved'...This is a one-person work and DiLorenzo’s performance as Katerina is nothing short of heroic...We watch Katerina grow intellectually–reading Kant and Spinoza—and culturally—listening to Mahler, among others. However, she doesn’t grow in terms of character...There are graphic descriptions of sexual activity yet they are not erotic. Surely the title, 'Beloved,' is ironic...The excellent direction is by Kathy Curtiss."
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"The play attempts to entangle us in with the strands of her overriding urgency. She’s upset, that’s clear, but as directed with an unending need for movement and distraction by Kathy Curtiss, the tremor in her voice never digs in deep enough to her terror and discomfort...I wanted weight in her voice and to feel the trapped passion in her soul...But it never felt that dangerous or violent, just nervous and frustrated like a teenage girl not getting what she wants."
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"DiLorenzo’s performance, in many ways, is a humbling lesson on how young women fall for manipulative, older men...'Beloved’s' words are real, quick-witted, and devastating. Katerina feels like a a living zombie; the vivacious corpse of a young woman that never had a shot at life. For however dynamic and enthralling DiLorenzo plays her, this character feels like she is dying in the 'humdrum' of what her life is supposed to be versus what is could be with Adam."
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“A lovely new Swedish play....With heart and humor, Langseth’s play transcends cultural barriers to push against the line between love and obsession, healthy change and rash infatuation...DiLorenzo is charming and captivating as Katerina...Curtiss’ direction moves the play along at a riveting pace...The clarity with which every element of this play is addressed is dramaturgically bulletproof. ‘Beloved’ is worth battling crowds to experience before its brief run comes to an end.”
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"Katarina delivers an extraordinary monologue describing her social, cultural, intellectual and sexual growth while in thrall to Adam – and the price she pays for it...Elinor DiLorenzo’s performance as Katarina is spot on, capturing the passions, the frustrations, the aspirations, the resentments and the ambivalences of a young woman in today’s politically correct yet still largely patriarchal society. It is a performance not to be missed."
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"Discovering how life works is what resonates the most in Lisa Langseth’s one-woman show...The strength of playwright Lisa Langseth’s writing is her ability to present real life and draw the audience in. 'Beloved' leaves the audience wanting to know more about all the various characters...I left 'Beloved' with a million questions, but instead of wanting to ask the playwright, I wanted to ask Katarina herself. I will be mulling over her experiences for quite some time."
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