GUYS & DOLLS (Milwaukee Rep)
"Adelaide is the showiest character in a cast full of them, and Faulkner seizes the opportunity. With impeccable timing and with what seem to be almost spontaneous physical and vocal embellishments, she's a show stopper among show stoppers."
"Playing these 'guys and dolls' require powerful vocal pipes and sure-footed dance moves, and this cast doesn't disappoint. It also requires a knack for the particular rhythms and attitude of the Runyonesque characters. Here, the standouts are Faulkner and Farina. Faulkner has a great time with Miss Adelaide's gangster moll stereotypes, while injecting them with both wit and humanity."
"The role of Miss Adelaide perfectly fits the multi-talented Faulkner who brings much to the show's main comedic role, giving Adelaide an added depth and dimension with alternating moments of vulnerability and toughness."
"But this version of Guys & Dolls, in my mind, belongs to one Kelley Faulkner, who steals the show as Miss Adelaide, the sassy stage performer and long-suffering fiancé of Nathan Detroit. She was born to play this character, which she brings to life flawlessly in the numbers 'Bushel and a Peck' and 'Take Back Your Mink'.
MUCH ADO ABOUT NOTHING (Optimist Theatre)
"Paired with Kelley Faulkner's Katherine Hepburn-esque spitfire take on Beatrice, the logophilic sparring at the heart of the story is well realized."
"Todd Denning and Kelley Faulkner clash with delicious spark and venom, even as their surroundings suggest the 'Hey...whatever' vibe of a Jimmy Buffet song..."
"Faulkner's proudly trousered Beatrice shows a keener edge, especially in her 'Oh, that I were a man' speech. When she finally embraces love, you can sense the many facets of her complex feelings. Plus, she pulls off the show's most genuine comic moment with her dismayed reaction to her friend's flaunting her private love poem."
""...some of the standouts include Kelley Faulkner (her best performance yet)..."
OF MICE & MEN (Milwaukee Rep/Arizona Theatre Company)
"Special notice to Kelley Faulkner's nameless character, Curley's wife..."
"The supporting actors—particularly Johnson, Pickering, and Kelley Faulkner as the woman who dreams of being in 'the pictures'—create nuanced, lived-in characters."
"In ATC's production, rather than the "tart" that all the ranch hands presume, even Curley's Wife (Kelley Faulkner) played the difficult but brilliant angle that she too was but an innocent victim of loneliness. She never felt even a little like a seductress as so many past interpretations have rendered her."
"Greer and Wainwright are backed up by a cast that made us feel the dust in our bones and the ache in our hearts. We understand the longing for some human contact by Curley’s wife (Kelley Faulkner)..."
--Tuscon Daily Star
THE MOUSETRAP (Milwaukee Rep)
"Lead player Kelley Faulkner does a bang-up job at playing Mollie Ralston in a way which encourages her fellow actors to embrace the Christie archetype."
"Milwaukee's Kelley Faulkner creates a most charming Mollie Ralston, alongside her more pragmatic husband, Giles, played by the equally accomplished Matthew Mueller."
ALWAYS...PATSY CLINE (Milwaukee Rep)
“Faulkner hits every note while singing a selection of more than two dozen songs doing justice to Cline's wide-ranging repertoire: honky-tonk and western swing; rockabilly and rock 'n' roll; two emotionally charged spirituals and Cole Porter's "True Love," which Faulkner renders with simple beauty.”
--Milwaukee Journal Sentinel
“As Faulkner made her way through 25 Cline numbers Sunday evening, she showed command and understanding of the great singer’s expressive nuances.
Faulkner also dug into the intangibles: Cline’s enormous vocal energy and her emotional commitment to the songs, be they about the joys or honky tonk life or the pain of love. The depth of Cline’s and Faulkner’s breath support reads as emotion rising from somewhere beneath the solar plexus. Faulkner’s precise impersonation did not feel like a copy; perhaps the act of immersing herself in Cline’s style instructed Faulkner in the nature of Cline’s sentiment. Whatever the means, Faulkner wasn’t faking the despair of Crazy, the giddy fun of Stupid Cupid, or for that matter the country-girl, matter-of-fact resignation of my favorite number of the night, Lovesick Blues.”
“...a chance to hear two dozen country classics sung by the incomparable Kelley Faulkner...”
“Kelley Faulkner, like Patsy Cline herself, is a little girl with a big voice--a voice she uses to belt out more than 20 memorable Cline tunes.
Country music is often sad, and Faulkner milks many of these tunes for all the sentiment in them. Her voice is strong and resilient and she is a poised and accomplished performer.”
“Kelley Faulkner brings Cline to ladylike life in the intimate setting, representing this pioneering woman who brought a country singer’s feminine voice to the forefront of the recording industry. Her petite frame demurely captures Cline’s on stage persona, acclaimed by audiences and critics alike. A demure that dissolves when Faulkner croons in a duet with Iannone 'Come on In and Sit Right Down and Make Yourself at Home'.
Golden moments in the musical appear when Faulkner’s Cline takes the vocals down a notch to reveal the rich, velvety voice Cline was remembered for.
Faulkner torched the cabaret with the legendary Cline’s presence...”
--Postscript Performing Arts
NOISES OFF (Milwakee Rep)
"Kelley Faulkner plays Brooke Ashton, the cast bimbo. She’s incredibly sexy, running around in her "smalls" which is the phrase Dotty uses for underwear. She has an incredible range, from scorned playmate to coy seductress. But her continual loss of a contact lens, spawning continual searches, brings laughter that begins as a twitter and soon climbs into the raucous range."
--Dave Begel, OnMilwaukee.com
HARVEY (Milwaukee Rep)
"Kelley Faulkner, quickly becoming a prominent presence in Milwaukee, is effective in her role as Ruth Kelly, the nurse with an agenda."
--Julie McHale, TimeOut
"...the terrific ensemble cast she has assembled for this production (standouts include Kelley Faulkner…"
--Paul Kosidowski, Milwaukee Magazine
CABARET (Milwaukee Rep)
“Milwaukee newcomer Kelley Faulkner is a particularly crisp and confident Sally Bowles when we first meet her. That sets up Sally's slide into desperation and Faulkner's harrowing second act rendition of the show's title song.
Beginning with Faulkner, the entire cast shows itself to be Broadway caliber in the song and dance elements of ‘Cabaret’."
“As Sally, Kelley Faulkner is a powerhouse, with a big voice and just a hint of the lost little girl she can't fully deny, particularly in her terrific rendition of the title number, in which she sells her soul while she sings her song.”
--Milwaukee Journal Sentinel
“(Hemingway and Faulkner) play their intimate scenes together in a lovely natural way, even when the action and conversation carry them into song or into little couples’ dances. Their chemistry and beautifully matched scale and style give the show moral weight because the characters feel like real people.
Clements’ production clearly puts Sally’s soul in the balance. During a gripping rendition of the title song late in the show, Faulkner makes Sally tilt toward hell. The moment is devastating.”
“Kelley Faulkner has the pipes to sell the show's signature and climactic song.”
“Kelley Faulkner draws a sharp contrast as the British Bowles, sure of herself onstage while straining to mask her offstage vulnerability. With her powerhouse voice, Faulkner is in full command, moving effortlessly from the comic pitter-patter of “Don’t Tell Mama” to the title song’s range of emotions. She works well with and against the American, writer Clifford Bradshaw (Geoffrey Hemingway).”
“Faulkner’s voice is solid and she punches out an emotional arc – especially in her rendition of the iconic “Cabaret” that ultimately gives the show its impact.”
“[This production] introduces the stunning talents of Kelley Faulkner. She is Sally in all her glory: hard-as-nails one minute, young and vulnerable the next.
Faulkner has a voice powerful enough to bring down the house [with] her poignant rendition of the title song in Act II.”
RAGTIME (Milwaukee Rep)
"I won't go down the long list and comment on each one, but I would like to point out Kelley Faulkner's dead-on portrayal of Evelyn Nesbit as something of a human cartoon character. Modern celebrity was already in full swing in 1906..."
--Tom Strini, Strini Writes
"Other standouts include Kelley Faulkner’s spirited Evelyn Nesbit..."
"Yet, there are so many other wonderful performances that make this Ragtime a joy to watch: ...Kelley Faulkner’s ditzy beauty, Evelyn Nesbit..."
--Harry Cherkinian, Chicago Theatre Beat
“Kelley Faulkner is deft in the way she asks Tom a question, fully expecting that the answer will prove Catherine unbalanced. Faulkner seems like "Romper Room's" Miss Jean when she deals with a toddler...
Alumni Reisman and Faulkner's self-assured performances suggest that Montclair has given its acting majors quite an education.”
—-Peter Filichia, The Star Ledger
“The dialogue shared over breakfast by Tom and the adept Faulkner was quite entertaining...
Faulkner was appropriately absurd...
The show was most enjoyable when there were at least three of the actors on stage, whether in a flashback...or present day with Faulkner in the mix.”
CHICAGO (New Candlelight Theatre)
“Kelley Faulkner as Roxie set the brazen tone that the other singers matched in assertion and stamina.”
—-Richard Holdsworth, artsdel.org
“The cast is rich in vocal talent. Both Faulkner and Fitzgerald have powerful voices and handle the period music comfortably, moving from torch songs to flamboyant struts with ease.”
—-The Wilmington News Journal
STATE FAIR (Walnut Street Theatre)
“Cary Miller and Kelley Faulkner also gave outstanding performances during their solo songs.”
“Strong singing, especially from Miller, Elder, and Faulkner enliven the entire evening.”
—-Jim Rutter, The EDGE Philadelphia
GIVE MY REGARDS TO BROADWAY (Kimmel Center)
“Amanda Danskin, Kelley Faulkner and Stacy Moscotti Smith, performing as well together as they do solo - have clear show-tune voices, and wear black dresses that sway with each move.”
—-Howard Shapiro, Philadelphia Inquirer
MISS SAIGON (Media Theatre)
“”The American Dream”, aided by Tonda Hannum’s choreography and the dancing of dream girls Kelley Faulkner and Jessica Latshaw, is a show-stopper.”
--Margie Royal, County Press