DADDY LONG LEGS - White Heron Theatre
“This two-person show rises above the sentimentality of its storyline thanks to the subtle, haunting songs of Paul Gordon and the resplendent, charming, nuanced performances of the two leads, Lindsay Alexandra Carter and Brian Krinsky.
Carter, who played Juliet in last summer’s White Heron production of “Romeo and Juliet” does a superlative job fashioning a heroine who is spirited but vulnerable. She creates a Jerusha who is bursting with energy, flush with idealism and longing for a better life, yet humble enough to know where she stands in the social hierarchy.
Her clear, rich singing voice weaves a spell over the audience as she pours forth the troubles and aspirations of the lovable Jerusha. There are few moments in the show when she is not at center stage, singing or delivering lines, and Carter rises to every challenge of this demanding role.
In addition to her fine musicianship, she shows a dancer’s grace in a brief, lovely scene when she finds an actual daddy long legs and releases the insect through a window. As she reaches forward, extending her legs behind her for balance, her physical being seems lifted by the buoyancy of her ardent dreams.”
ROMEO AND JULIET - White Heron Theatre
"Carter (who is also credited as fight/dance captain) creates a vulnerable yet self-possessed Juliet, a difficult balance to achieve. She dominates the stage with her physical presence, moving with the sleek power and lovely lines of a dancer…The balcony scene is gorgeous, as Romeo and Juliet’s proclamations of love find new voice in a jazzy setting of floating major-seventh chords and deft harmonic resolutions. Funiciello and Carter sing beautifully in this scene, spinning a web of bedazzlement over the audience…The meetings of the lovers are graceful and lovely.”
AS YOU LIKE IT - Folger Theater
"The emotion Carter puts behind every word she speaks as Rosalind and later disguised as a young man named Ganymede evokes perfect moments of childlike wonder at her newfound love for Orlando while never losing a grasp on her wit and cleverness."
- Vanessa Michaud
"Carter beams and bounces like a teenager, and her love-drunkenness sets off a parade of moon-eyed antics."
- Nelson Pressley
The Washington Post
"Lindsay Alexandra Carter and Antoinette Robinson, as Rosalind and Celia respectively, are bursting with energy that they shoot back and forth like Venus and Serena Williams. Their passions and playfulness are as charming as they are funny."
- Marshall Bradshaw
DC Theatre Scene
"Carter, as the equally smitten Rosalind, is delightful in the role. Grounded in the lunacy and madness that is love, she delivers the character with a swift and recognizable justice, keeping good council with Celia (Antoinette Robinson.) Carter’s great many interactions with Roberts’ Orlando are some of the most compelling in the production, as it should be for As You Like It."
- Amanda N Gunther
"Director Gaye Taylor Upchurch has homed in on the irresistible Lindsay Alexandra Carter who plays our heroine Rosalind in this lively production. Carter is a hundred times adorable, delightfully feisty and endearing as the woman who gets her man by pretending to be a sort of male Ann Landers to her love target, Orlando (Lorenzo Roberts). As she schools him in how to capture the heart of, well, yes! herself, she delivers one of the best interpretations of the role of Rosalind. And for that, we can be deliriously grateful."
- Jordan Wright
Special to the Alexandria Times
"Lindsay Alexandra Carter as Rosalind leads this energetic cast with a big-hearted performance. You feel every emotion as she spouts words of love and wisdom, her eyes wide and sometimes brimming with tears."
- Gail Choochan
THE FREE LANCE–STAR
"Lindsay Carter is the crown jewel of the evening as the heroine Rosalind, a lively young woman of tenderness and passion."
- Maggie Lawrence
"Upchurch has found a worthy Rosalind in Lindsay Alexandra Carter; she’s game and gamine and misses nothing."
- Chris Klimek
Washington City Paper
UNLIMITED - No Rules Theatre
“All have terrific voices, and Carter, in particular, has a way of moving that draws focus.”