"The actress Jackie Hoffman doesn’t so much steal scenes as first beat them up and then abscond with any valuables...Are the jokes cheap? They seem heavily discounted...She treats the material with absolute seriousness, dignifying the bits that don’t deserve it, swerving into an emotionalism that the script doesn’t remotely earn."
Read more

"'Fruma-Sarah' doesn’t go deep; its comedy is familiar, its brief flirtation with tragedy is unconvincing, and Margo has little to do beyond serve as a sounding board. But if the part of Ariana is not always made of first-rate material, it suits Hoffman well and she wears it like skin."
Read more

"Hoffman, always great, delivers an impeccable, multi-layered performance as the bravado-filled, downtrodden Ariana, one that's as hilarious as it is devastating...And it would be so much better if the play, which is, at best, a 10-minute sketch expanded into 80 interminable minutes, was up to the standard that Jackie Hoffman sets. But Smith seems destined to make fun of the Arianas at every single turn."
Read more

"'Fruma-Sarah (Waiting in the Wings)' is built on a foundation of tropes, truisms, and in-jokes about the world of community theater. As such, it is likely to find a long and happy life among amateur companies across the country where productions of Fiddler abound and Fruma-Sarahs wait interminably in the wings. For now, however, it serves as a glorious forum for Jackie Hoffman, whose performance, under Braden M. Burns's direction, brings her character resoundingly to life."
Read more

"Smith turns out to be quite accomplished at keeping an audience ahead of him in one way and continually engaged in another...Smith is particularly smart on Margo, giving her some troubles of her own and allowing her to work them out a bit...Nevertheless, 'Fruma-Sarah,' crisply directed by Braden M Burns, remains Jackie Hoffman’s vehicle."
Read more

"Fruma-Sarah could easily have become a vehicle for Hoffman’s boisterous talents. Instead, Burns clearly understands that this is very much a play and not an act...After a number of profane outbursts Fruma-Sarah takes a melodramatic turn near the end, a twist that the playwright rightly moves past quickly saving the play from bathos."
Read more

"Listening to Hoffman recite her stream of consciousness dialogue is impressive. She’s witty and wry and the best in these situations. But you tend to glaze over as the flow of comedy suddenly takes a heavy duty turn and actually becomes too serious and a downer."
Read more

"The best parts of the play are when Hoffman can be outrageous. When she does her vocalization exercises, she’s hysterical...The show is uneven and basically unsatisfying. It’s about theater, loneliness and unhappy people, but it's hard to care about Ariana."
Read more