Press: verb
1. to act upon with steadily applied weight or force.
2. move or cause to move into a position of contact with something by exerting continuous physical force.
And Theatre. The Theater.
I have spent the last 25 years of my life on stages in Los Angeles. New York wouldn’t take me. Los Angeles took me under it’s wing and baptised me in it’s dirty chlorinated waters. It gave me a place to live. Breathe. Exist. Learn. Leap. Fail. And leap again and again…til I could fly all over the world and stand on other countries’ stages. And discover once again why. The why of returning again…Home.
Here is what has been and is being said by:
Sarah Kane’s 4.48 Psychosis – Son of Semele
Nominated – Ovation Awards – Best Lead Actress in a Play
Winner – Ticketholders Awards – Best Actress in a Play
Stage Raw
In the end, though, it is Dylan Jones who makes this such a memorable event. She so fully embodies Sarah Kane’s agony (and occasional ecstasy) that we cannot take our eyes off her, cannot get her cries out of our mind long after the stage lights have dimmed. With her pale white skin and tangles of blazing red hair, she is like a priestess of pain, a Cassandra for our troubled times. And just as Cassandra’s gift of prophecy was ultimately her curse when her prophecies were never believed, so too is Jones’s main character cursed with a brilliance that gives her such a clear-eyed view of her own personal hell. But the hour that we spend in her company also feels like theatrical heaven, as she strips away layer after layer of her social self until we get down to what Shakespeare called “the thing itself” — her naked spirit.
Ticketholders LA
A phenomenally brave tour de force turn by Dylan Jones.
From disconcerting images and various lines from the play projected on the walls to a spectacular water effects I have to say I have never seen duplicated on a stage—culminating in a courageously naked and totally exposed Jones completely submerged among floating dollhouse furniture and empty pill bottles in a giant fishtank we’ve watched slowly fill before our eyes, obviously representing Kane’s loss of control over her life—McCray’s staging conjures absolute magic.
The indelible performance of Dylan Jones is absolutely fearless and totally heartbreaking as the surrogate Sarah Kane.
In lesser hands than hers, the writer’s overpowering sense of self-indulgence and self-absorption, although a symptom surely familiar to anyone ever dealing with someone suffering from manic depression, could take its toll and even result in losing our interest. Jones induces a totally sympathetic and, oddly, even nurturing reaction from those gathered to watch 4.48 Psychosis—especially since we all know exactly what it “celebrates” and how Kane’s story ended soon after its completion.
http://ticketholdersla.com/review-archives-3/
William Inge’s Picnic – Antaeus Theater Company
Nominated for Stage Raw’s Best Revival & Best Ensemble
Broadway World Los Angeles
“No such thing as a small part, Rosemary’s comrade Irma (Dylan Jones) is a definite stand out in her quest for attention.”
Los Angeles Times
“Another exemplary player in Watson’s ensemble is Dylan Jones.”
Stage Scene LA
“Jones and Maglione’s pair of schoolmarms, one worldly and one wet around the gills, complete the superb Eggs cast.”
Arts In LA
“In some of the play’s eclectic cameo roles, Dylan Jones is a standout as Rosemary’s super-perky co-worker Irma Kronkite, who could singlehandedly make anyone stop thinking about attending his or her impending high school reunion.”
Track 3-Theatre Movement Bazaar – Bootleg Theatre, South Coast Repertory
Edinburgh, London, Hangzhou, Shanghai, & Beijing.
Stage & Cinema
“Dylan Jones’ Masha is tremendous…sharp and dynamic in her portrayal. Track 3, an adaptation of Chekhov’s Three Sisters, is a breezy vaudevillian experience complete with song and dance…by the exceptional ensemble whose pacing races like a stock car at the Indy 500. Flashy, kinetic and jocular.”
Block Nine – Elephant Theatre Company
Winner of LA Weekly’s “Production of the Year”
Los Angeles Times
“A lurid tale of lust, double-crossing and murder… Of particular note is Dylan Jones as the Rita Hayworth-esque arch nemesis. Deliciously Sapphic…the simulated sex scenes are steamy enough to convert anyone to the home team”
LA Theatre Review
“The real shining star of the dames’ cast is actress Dylan Jones. The script’s stylized language sounds the best coming from her mouth, and she dominates the stage with her presence. Her methodical manipulations are compelling and culminate in either frightening violence or steamy reconciliation.”
The Master and Margarita-Zoo District
LA Weekly & Ovation Nominee for “Best Ensemble”
Variety
“At the heart of the production’s success are the charismatic performances of Hella the vampire (Dylan Jones) and the Devil’s unholy minions”
7 Redneck Cheerleaders- Elephant Theatre Company
LA Weekly & Ovation Nominee for “Best Ensemble”
LA Weekly
“Outsize parodies…Dylan Jones… rise like theatrical soufflé. This phenomenal cast is spot on.”
The Tolucan Times
“As the flamboyant lesbian, born again Christian part-time floozy, Dylan Jones is a seductive, southern fried showstopper… The cast was terrific as each played dual roles with psychotic passion! … “
LA Splash Magazine
“And special kudos to Dylan Jones. She was a powerhouse of creative energy. She had such total commitment to her colorful character. The audience ate her up. “
Metro LA the Magazine
“A stand-out performance from Dylan Jones (Rose/Sheila)… The actors provide over-the-top performances… Not a weak link in this chain.”
