(Brian Friel)


“…the individual performances are strikingly good, with Ms. Quigley evincing an uncontainable rapture…”
— Alvin Klein, New York Times



(Arthur Miller)


“Quigley telegraphs the ocean of emotions that churn in her unyielding nature.”
— Jackie Demaline, Cincinnati Enquirer


“Bernadette Quigley’s Elizabeth Proctor is understated and wan. There is nothing of the heroine about her; she doesn’t even try to play on the audience’s emotions during her taut cross-examination about her husband’s admitted infidelity. Quigley doesn’t ask the audience to sympathize with her, which is why — like her husband — ultimately she’s so persuasive.”
— Dennis Brown, Riverfront Times



(Tracy Letts)


“Bernadette Quigley is brilliant as Agnes White whether infected or insane…”
— Joe Pollack, KWMU-FM


“…a warm performance from Bernadette Quigley….Even as she smokes and snorts herself to oblivion, her crying and begging and messy neediness make her a kind of coked-up Blanche Dubois.”
— Byron Kerman, Playback St. Louis


“…played with fascinating nuances and total conviction by Bernadette Quigley.”
–Bob Wilcox, West End World



(Billy Roche)


“…Bernadette Quigley lends depth and insight to the role of a woman so bitter she can neither love nor be loveable ever again.”
— Carolyn Balducci, CurtainUp


“It’s a prime role for Bernadette Quigley, who tears into the part with passion and hostility without going overboard….Quigley is utterly convincing and affecting.”
— Wolf Entertainment



(Staci Swedeen)


“…Quigley gives Aviva a likeable persistence and real humanity.”
— Peter D. Kramer, Journal News


“….delivered with powerful emotion by Quigley.”
— Andy Propst, TheatreMania



(Lanie Robertson)


“Bernadette Quigley is deft in her quicksilver translitions as a, well, mysterious woman.”
— Alvin Klein, New York Times


“Who is this woman, played to perfection by Bernadette Quigley?….Quigley is at once self-assured and jittery, confident and rattled, loving and firm. She shows us a range of emotion, letting down her brave facade to let a little boy in.”
— Peter D. Kramer, Journal News



(Martin McDonagh)


“The play depends on the talents of two strong actresses, and the stage company couldn’t have found a better pair in Eileen Brennan and Bernadette Quigley..”
— David Nicholson, Daily Press


“The two women, mother and daughter, Eileen Brennan and Bernadette Quigley, are so believable in their relationship, especially in moments unspoken, that you feel they must have the same blood coursing through their bodies. Ms. Quigley, intriguingly leads us down the cutting corridors of her life with such subtlety that we know who she really is only at the final curtain.”
— Edgar Loessin, WHRO



(Kenneth Branagh)


“The rest of the cast also brings home the vitality of Branagh’s essentially
melodramatic but powerful play — I was particularly impressed by Bernadette Quigley, as Kitty, who narrowly escapes getting a grapefruit in her kisser.”

— Clive Barnes, New York Post


“..and Bernadette Quigley give outstanding performances.”
— John Simon, New York Magazine

“a remarkable actress…”
— Jacques Le Sourd, Gannett Newspapers


“Bernadette Quigley, the largely unsung heroine of the Irish Arts Center, is at her not inconsiderable best here, making something genuinely valid and touching out of Kitty’s loyalty and her attempts to shine onstage in a red satin dress and a single long gold glove.”
— Joe Hurley, Irish Echo


“In a less showy role but doing exquisite work is Bernadette Quigley, as Tommy’s girlfriend, Kitty. Tough, vulnerable, quirky, she gives a performance of many colors, all of them exceedingly rich.”
— Drama-Logue



(Harold Pinter)


“Bernadette Quigley creates a remarkably well-defined portrait in a pivotal role.”
— Gordon Spencer, WRCT


“Ms. Quigley makes an impressive PICT debut, slipping 180 degrees from the ditsy wife in “Celebration” to the mousy, terrified Rose of “The Room.””
— Bob Hoover, Pittsburgh Post-Gazette



(David Lindsay-Abaire)


“As strange as it is, Fuddy Meers is the best play I’ve seen yet at Capital Rep, or anywhere in the area for that matter. The writing, the acting, the design, the directing—everything is first-rate….Even at her most clueless, Quigley’s Claire is alert and quick-witted, with a wide-eyed appeal that draws us in where we might otherwise be afraid to tread.”
— Kathryn Ceceri, Metroland





by Helen Fielding


“Quigley scrupulously brings Fielding’s vapid, iconic characters to life with her uncanny ability to switch between accents and mood at the drop of a hat, achieving a subtler style of comedy than listeners may expect.”
— Publishers Weekly


“Bernadette Quigley is unlimited in her ability to portray this cosmic cast of characters: Rosie’s inner sarcasm; her hotshot ex-boyfriend’s self-centered pomposity; celebrity egos and eccentricities; and refugee desperation and selflessness.”
— B.J.P., AudioFile



by Linda Barnes


“…Bernadette Quigley’s reading matches Barnes in tone and intensity. Easily and believably, her voice glides from tough construction workers to the Beacon Hill elite. But most important, she becomes Carlotta Carlyle, narrating this adventure filled with action and twists and a tough and intelligent female protagonist.”
— S.E.S., AudioFile


“Bernadette Quigley is a no-nonsense kind of performer who makes the work sing. Her delivery is smooth, her dialects perfect and her characters easily discernible.”



by Nora Roberts


“Quigley triumphs to make this a winning production. Her performance rings with subtle nuances, accents ranging from Czech to Irish, and theatrical crescendos and decrescendos. Quigley’s presentation is captivating….”
— Publishers Weekly