ON A CLEAR DAY YOU CAN SEE FOREVER:
New York Stage Review (Elysa Gardner):
“The leads get winning support from John Cudia’s drily rakish turn as Melinda’s ne’er-do-well artist husband and Daisy Hobbs’s and Caitlin Gallogly’s sprightly performances as Daisy’s friends and fellow strivers. Lane’s lushly melodic tunes are beautifully sung by the whole cast, which delivers crisp, vivid harmonies under John Bell’s music direction. If Clear Day won’t entirely transport you back to what now seems like a more innocent time, it’s the perfect tonic for an early summer evening.”
The New Yorker:
"The gorgeous high never really lets up.”
"This summer the Rep is back to save our souls or at least some of our humanity with another irresistible main stage offering for what already looks like the longest, hottest summer since the original stepped out at the height of the 1960's. This show has block buster written all over it so do yourself a favor and grab some tickets before the estatic reviews come out and make that impossible. On A Clear Day you can get back in touch with your best self and shows like this one make that task so much easier. Get your tickets now. Thank me later."
The New York Times:
“[The voices don't disappoint here], especially in the big numbers [Alongside Melissa Errico,] the rest of the cast also sings powerfully, suggesting something bigger than is actually there, and Ryan Belock’s watercolor projections likewise help compensate for the bare-bones set. A full-scale production would be impossible today — and unwarranted. [...] a scrappy Off Broadway miniature [may] be the only future possible for this much-reincarnated but still beguiling show. ”
"The fine ensemble, also headed up by John Cudia as Edward Moncrief, strongly undergirded the dynamism of the revival/adaptation. Indeed, this production soars as a delightful theatrical experience full of whimsy, joy, and charm. This version of On a Clear Day You Can See Forever shines like a beacon of truth."
"Leave it to the invaluable Irish Rep’s Charlotte Moore to rescue On a Clear Day You Can See Forever… a musical entertainment cup that’s filled to the brim with lovely songs."
Time Out NY:
"The score makes this show bloom. [The songs are] all beautifully delivered by Errico, Bogardus and the small but big-voiced ensemble, whose energy and enthusiasm compensate for the barely there design and pared-down orchestrations. [...]For lovers of rarely seen Broadway relics, this revival may well win you over."
The Hollywood Reporter:
"Only the most curmudgeonly could resist [this production's] undeniable charm."
“It’s rare to hear voices like these, and unamplified, too.”
New York Stage Review (Melissa Rose Bernardo):
“The sunny show works beautifully on Irish Rep’s postage-stamp-size stage… I defy you to listen to Errico singing “Hurry, It’s Lovely Up Here”… without cracking a smile."
"'On A Clear Day' is a hit!"
“The show has always been a bit of a diamond in the rough, and this version has more than enough sparkle to warrant a visit.”
THE SCARLET PIMPERNEL:
Haines His Way:
"Caitlin Gallogly skillfully threads her way through the many emotions Marguerite endures as the plot twists and turns against her. Gallogly also possesses an amazing voice that easily handles such tender ballads as “When I Look at You” and “Only Love.” Her tender duet with her brother Armand (Adam Trent), “You Are My Home,” is touchingly delivered."
“Caitlin Gallogly is very effective and affecting in the female lead, Marguerite St. Just, who leaves her French lover Chauvelin – the right hand man of Robespierre, leader of the French Revolution – for the British nobleman Percy Blakeney [...] How Ms. McDonough was able to coax all these remarkable performers to bring their talents to the raggedy Underground Theatre is beyond me. But I’m so glad she did, as this production was certainly one of the unexpected triumphs of the 2017 Hollywood Fringe. ”
The Los Angeles Times:
"One of two world premieres in Theatre West’s annual Writers-in-Rep series, Jule Selbo’s “Boxes” is a taut exercise in psychological manipulation that is one of those rarities in the contemporary theater -- a classically crafted play with well-delineated characters and a satisfyingly linear plot."
"The linchpin of the show, Gallogly is authoritatively naturalistic, as is the nicely understated Nussen, a real find."
“The acting, especially that of Ms. Gallogly, with her range of emotion and expression, was excellent."
NoHo Arts Reviews:
“[Caitlin Gallogly is] Stunning and truly gifted"!
BELLE OF BELFAST:
“Caitlin Gallogly, in the role of Anne’s more conventional best friend, displays an engaging softness, intertwined with fiery bursts of assertiveness, which is enhanced by a sparkling, expressive face and melodic voice.”
“Caitlin Gallogly as Clara is chilling, especially when she sings with such spirit an Irish ballad.”
Stage and Cinema:
“Gallogly is fresh, believable, and very sympathetic.”
On Stage Los Angeles:
“Anne’s girlfriend, Clara Murphy (spot on Caitlin Gallogly who could easily have played Anne as well) is a handy foil. Her special moment is delivered in a tender rendition of the last verse of a haunting Irish ballad, The Parting Glass, to honor their school chum who has perished in a bomb blast which virtually rocks the theater.”
The Los Angeles Times:
“Caitlin Gallogly is very Mae West [...] terrific!”
“Gallogly is delightfully wicked and bitchy as Crystal Allen.”
“[Gallogly is] despicably sassy as the heartless tart, Crystal.”
NO TIME TO WEEP:
“The production coalesces around talented lead performer Caitlin Gallogly, totally engaging in the tremendously challenging role of the young Lucy.”
The Los Angeles Times:
“There are bright spots [...] particularly Caitlin Gallogly as young Lucy. Gallogly is a petite dynamo with an angelic voice whose professionalism is a high point in this sincere but flawed production.”
The Los Angeles Post:
“The large cast is led by Caitlin Gallogly, who handles young Lucy with deep, honestly felt emotion [and] a lovely singing voice.”