“Theatergoers can only hope to see & hear more of Patricia Comstock.”   —Dover Post, for Laurey in Oklahoma!     “amusing as ‘Dymphna, a Slut.’”   —TheaterMania, for Prince Trevor  > Reviews of Prince Trevor as a whole “Comstock is an absolute marvel ...From the moment she comes charging out on stage, she is filled with  fiery rage and defiance... she maintains that steadfast level of  intensity and strength even as she is being ‘tamed’ down.” —Oberlin Review, for Kate in Taming of the Shrew  > Full article*       “intriguing physical comedy”   —New York Blade, for Stephano in The Tempest “intrepid... create[s] an atmosphere of inspired lunacy.”   —The New York Times, for Penelope/Seamen     in Homer's Odyssey in Puppets > Full article*         “Patricia has a beautiful voice... She was a good whore; even her eyes sparkled and beckoned.” —Oberlin Review, for Whore in Hello Again > Full article* “The effect of Hecuba's performance is doubled, if not tripled, by the chorus. The chorus is arguably the main character... Constantly in motion... They respond to every act, every word, and they do not flag. The emotion expressed by the chorus never seems tired or impersonal ...as if they all have wounds they rip open every few minutes.” —Oberlin Review, for Chorus Leader in     Women of Troy > Full article* “Some of the works were truly a success. Excerpts from Why We Have a Body, for example, were simple and direct... Read by Patricia Comstock... Chafee's words sunk deep into the audience as if the speakers were referring to their own lives.”    —Oberlin Review, for solo piece in Fem Fest West

with Giselle Jones in The Tempest as Dymphna in Prince Trevor... as Laurey in Oklahoma! finale as Kate in Taming of the Shrew