" Jacqueline Thompson  is just terrific as Tituba, the slave who tells the girls stories that have been passed down through her own belief system. Thompson also handles the audience with expertise after the play ends and the questions are brought forth." ​ Read the full article by clicking here.

"Jacqueline Thompson offers a telling contrast to the girls as the adult slave Tituba. With her accent conveying the conjurer’s Jamaican roots, Thompson adeptly shows how Tituba can lead her young charges in their nightly chants yet also retreat to ‘her place’ as an indentured servant when she is castigated by Abigail." ​ Read the full article by clicking here.

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"Jacqueline Thompson  does exceptional work as Sadie, and we watch her grow and blossom into adulthood as the story unfolds. Alicia Reve Like is also quite good, and very amusing, as her disinterested and stubborn sister Nella. Marty K. Casey is terrific as Alice, their mother, and also as Sadie's grown up daughter, Asia. Reginald Pierre rounds out the cast as Sadie's hard working husband, Macon." ​ Read the full article by clicking here.

"Jacqueline Thompson anchors the production as the willful Sadie. Intelligent and thoughtful, Sadie as interpreted by Thompson gives us an up-close-and-personal look at the triumphs and tragedies of this small-town, African-American inhabitant growing up in the long shadow of Jim Crow. While Gee’s Bend is a simple story told straightforwardly, Thompson makes it resonate with intelligence and emotional appeal." ​ Read the full article by clicking here.

Jacqueline Thompson delivers a heartbreaking, deeply affecting portrayal of Esther, whose love for Mr. Marks is palpably denied consummation by the strictures of their era. She braces her body as tightly as the corsets her character designs, revealing in her face the loneliness that grips Esther. ​ Read the full article by clicking here.

Jacqueline Thompson is absolutely captivating as Esther, easily and expressively handling the character's many facets, and allowing us to feel her life in the moment. Her character is generally reserved, but when she flashes her true feelings she brings a passion that's firmly rooted in her core. Thompson's scenes with Mayme, a vibrant and at times brilliantly animated Andrea Purnell, show two very different women bonding and laughing. They remain true to each other even thro

Jacqueline Thompson delivers a top notch performance as Esther, investing the role with the kind of endearing qualities that make you sympathize deeply with her situation. Linda Kennedy is just terrific as Mrs. Dickson who runs the boarding house where Esther lives and works. It's another fine rendering by an actress who is truly a treasure. ​ Read the full article by clicking here.

Wisely, Thompson makes Esther her own, imbuing this pragmatic, dignified woman with enough emotional grit that by the end of the 2½-hour play, it’s all we can do not to run on stage and hug her.  ​ Read the fu ll article by clicking here. ​

Jacqueline Thompson  provides a strong characterization of Pumla, questioning De Kock in an effort to determine his culpability, and also to understand why he would testify in opposition to the state rendered view of the events that took place. She's also curious as to why he would seek an audience with those whose lives were forever changed by the violence that claimed members of their families in order to seek forgivenes S. Thompson 's performance deftly brings out the comp

Both Christopher Harris as de Kock and Jacqueline Thompson as Gobodo-Madikizela are compelling in their portrayals. Harris introduces de Kock as surprisingly a bit suave and courteous, but he can also throw off an audience as de Kock dispassionately recalls his role in sundry government atrocities. ​ He’s also adept, moreover, at gradually revealing not only de Kock’s submerged personal feelings and willingness to accept responsibility for what he did but not for what he hims

Jacqueline Thompson transforms herself into the captivating and persistent Gobodo-Madikizela. With a spot on accent and reactions that reflect her character's changing perspective, she remains curious and nonjudgmental -- a surprise to both de Kock and the audience. She wants to know what happened under de Kock's leadership, how it made him feel, and, as importantly, why de Kock asked to speak with his victims' widows. There's an effortless empathy to Thompson's performance,

Ron Himes (founder of The Black Rep) produces and directs, drawing consistently brash and brilliant performances from Jacqueline Thompson as Shelly, Dot's older daughter and comically beleaguered caretaker; and from Heather Beal as Averie, a wild younger daughter who seems to be living in her own private reality TV show. Chauncy Thomas is great as Donnie, the only son: a perfectly modern 40-year-old gay guy with a perfectly modern husband (Paul Edwards). And together they hav

The Shealy clan's bonds are tenuous when the story opens. Shelly (Jacqueline Thompson) has been essentially on her own in taking care of Dotty (Thomasina Clarke) for the past year, and the situation has taken on toll on both of them. Even Dotty's smallest lapses in memory — getting up to get salt and returning instead with Oreos — enrage Shelly to the point that she screams out loud. Thompson and Clarke play beautifully off each other, as Dotty circles back to the beginning o

Ben Nordstrom and Jacqueline Thompson stamp the characters of Stuart and Ida with their distinctive brands of performance aplomb, expanding the Oberon’s cast in ways that will challenge its 1940s audiences. Mary McNulty captures the lusty bravado as well as the not-so-subtle prejudice of June, while Laura Resinger brings pathos, poignancy and determination to Grace, who soldiers on in her quest to honor her absent husband while also finding herself.   Read the full article by

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Story: The large mask of a performer in blackface looms menacingly above the floor at a St. Louis bar frequented by black performers, dancers, singers and musicians. They are welcomed by Lou, a magician who learned his craft from his father and a man who wishes to help his colleagues accept and appreciate their blackness. Read full review by clicking here.

The street-smart black friend of a white protagonist. The menacing black man. The sassy black woman. These stereotypical depictions of black people have filled television, movies and theater productions for years. Where do they come from? Read the full article by clicking here.

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