ACTING RESUME

DIRECTING RESUME

REVIEWS

ACTING

"The titular Lady, as played by Isla Fisher look alike Lola Kelly, who was sensual and skillfully portrayed the manipulative, sadistic Lady. Her performance was so good that you could really feel her character’s fear and longing, and the desperation that drove her madness. She did such a good job, in fact, that it was entirely possible to feel some measure of pity for her by the end of the play.

"Quite simply, Kelly was by far the best thing this play had going for it. She was so spot-on with Lady’s mood swings, striking just the right balance between wicked and wretched. She was sexy and sinister in turns, portraying an abusive mother figure and manipulative lover simultaneously and with equal success. I would certainly want to watch her again."

-Review of Lady at ATA NY for Playing Around by Marti Sichel 

"While Lady's age, origins and motivations are often impossible to determine, actress Lola Kelly's performance is entrancing and powerful, a woman whose spell we want to fall under."

-Review of Lady at ATA NY for Charged.fm by Natalie Sacks

"Heightened situations require an incredible belief in given circumstances, and as leading lady, Lola Kelly accepts the challenge with great success. Kelly presents us with many sides to the same coin—at one moment the shining example of regalia, at another a woman teetering on the edge of insanity. Kelly is no exception to the notion of good-things-coming-in-small-packages, commanding not only the characters around her, but our invested attention as audience members."

- Review of Lady at ATA NY for Theasy.com by Zachary Conner  

"Lola Kelly enchants as Ophelia - the object of Hamlet's affections, dutiful daughter of Polinius and loving sister of Laertes. Beyond smitten with Hamlet, she does agree to hold herself back from him as her father advises/wishes. Kelly's 'gone mad' scenes of Ophelia illicit much intended sympathy and sadness for her. Kelly and McHale's "Get thee to a nunnery" scene crackles with such vibrancy and intensity." 

-Review for Hamlet by American Coast Theatre Company for Broadway World by Gil Kaan

"Lola Kelly gives her Sherie a cheery, ironic look at life. Her brave smiles while telling about the atrocities that fill her life happen to be one of the very few expressions of hope in this dark, dark dramatic reality."

-Review for Life Without Parole at the Edgemar for Broadway World by Gil Kaan

"All four actresses solidly inhabit the haunted women, with Lola Kelly standing out as the self-deprecating Sherie, whose more casual dialogue often masks a lifetime of pain."

-Review for Life Without Parole at the Edgemar for Colorado Blvd by Melanie Hooks 

"The performances were all spot on, but Lola Kelly’s scenes with James McHale were highlights."

-Review for Middletown at the Chance for Orange Curtain Review 

"Performances from a mix of Chance Theater resident artists and a few fabulous newcomers could not be more memorable, from the poignancy, pluck, and heart Kelly gives Mrs. Swanson..."

-Review for Middletown at the Chance for StageSceneLA by Steven Stanley

DIRECTING

Crimson Cabaret

“Thanks to the talented production staff for creating one of the most authentic and wonderfully fun interactive theatrical events I have ever attended.” – Broadway World

”From start to finish, Crimson Cabaret is an absolute joy to experience.’ – Become Immersed

'It's one of the finest immersive experiences I've encountered in LA.’ –TinPanLa.com

'More intrigue than you can shake a cocktail shaker at.' - NBClosangeles.com

The Witnessing

'The Unmarked Door...manages to tell an engaging story—a traditional “haunted house” story that’s spread beyond the house—while still maintaining what’s rapidly becoming their trademark sense of dark whimsy.’ ​-Haunting.net

 ”The tense dynamic between the two performers was utilized to perfection by Lola Kelly’s direction. Rolfe Kent’s sound design wrapped everything up into a twitchy, tense package.” – Nightmarish Congerings

A chilling effective immersive paranormal horror piece.The show, with an imaginatively creepy story, great chemistry between the actors, and fine attention to detail, takes the audience down the rabbit hole of going from logical debunking of the supernatural, to turning the audience into a roomful of terrified believers! – David Lucarelli

Heart of Winter

“Heart of Winter’s greatest gift is providing a space for its audience to put these anxieties aside for a night and dig even deeper, tapping into their most innocent, child-like instincts and allowing them a night to run free in the company of a room full of others similarly young at heart. In the end, isn’t that what the holidays are all about?” – Haunting.net

YOU (Hall & Mirrors)

“What will surely always remain at the top tier is the irreplaceable experience of having a bar full of very fine actors doting on you for hours on end. Talking, laughing, playing. Confessing your darkest fears and tragedies and having them validated by shared experiences. (Honestly: I told my Virgil things I don’t tell my friends and wouldn’t tell someone at a “probing” immersive show. Why? Because she’d earned my trust.)”  - No Proscenium

“Yet somewhere between the boozy badinage and the close encounters of the Strindbergian kind, a minor miracle had occurred without my even noticing: my prickly inner critic had softened considerably, had even grown genuinely fond of these seven earnest players, so much so that I was pulling for them instead of looking for excuses to detach or complain. I was Bottom and they my humble troupe of rustics. And a midsummer evening purportedly devoted to me had somehow become a matter of we.” - Newsweek