“The theme is accepting yourself as you are, and the title character shares pure feelings as she learns to believe in herself…Cotton Wright plays Violet with steady attention to the character’s sense of suffering…Her best moments are during her own fantasies. When Violet describes her hopes for physical beauty to Monty and Flick in “All to Pieces,” she eagerly points to magazine pictures of movie stars and relishes imagining her transformation. And her scene with the Preacher goes beyond gospel cliché to the essence of longing.” – Seven Days | Vermont’s Independent Voice

“Violet and a younger version of her are a powerful duo. Played by Cotton Wright and Victoria Fearn, their voices and performances are over the top.” – The Valley Reporter

“Cotton Wright sang well and was particularly feisty and sympathetic as the troubled and determined Violet.” – Rutland Herald

“The performance has…a versatile cast, especially Cotton Wright, whose performance as Henrietta Bowdler is worth the price of admission.” – OffOffOnline

“Cotton Wright is wonderful in her portrayl of Henrietta, convincingly embodying a woman who is both intelligent and articulate yet also naive and childlike.” – Theater Is Easy

“The cast features some excellent performances, notably Cotton Wright’s amazing work as the naive Henrietta.” – StageBuzz.com

“Cotton is charming, with a naturally evident love of poetry and a contagious sense of play.” – Show Business Weekly

“Roslyn Simon is played with style and forthrightness that is perfectly delivered by Cotton Wright. Her wide smile and her blonde hair make her the perfect charmer and the equally perfect target love. She sings beautifully and emotionally.” – The Advocate Weekly

“Brady and Wright were the consumate couple grappling with the passage of time in their marriage and the credibility of increasing wisdom, even when making missteps. Their melodic repartee was spot on.” – North Adams Transcript

“Cotton Wright turn[s] in [a] particularly gripping, realistic performance.” – New York Press

“Cotton Wright infuses mystery and wonder into her turn as the enigmatic Willa.” – NYTheatre.com

“Willa (a terrific Cotton Wright).” – That Sounds Cool

“Another humerous situation invloved teaching Willa (played painstakingly and brilliantly straight by Wright) that a human body can be better in some ways.” – The New York Review of Science Fiction

“Cotton Wright, as Hero, is also wonderful in her role as the young lover. She was able to transform effortlessly from lovestruck bride to heartsick woman scorned, conveying her confusion, disbelief, and anguish believably as the play’s events unfolded.” – Blogcritics.org

“Ms. Wright plays Hero with vigour, making her a full bodied character that radiates youth and innocence which was a welcome change of pace from the wallflower portrayals of the part I’ve seen in past productions.” – Visible Soul

“Ms. Wright was lovely as an innocent girl in love for the first time, and allowed herself to truly experience the pain of being humiliated by her beloved.” – Theateronline.com

“The strongest play of the evening is Biological Mother…It features…some strong performances, particularly Cotton Wright.” – Stagebuzz.com

“Cotton Wright [was] able to really make the most of [her] stage time in Pretty Theft. Wright’s simple yet distinctive physical choices as Allegra’s Mom, the Supervisor, and one of Joe’s ballerina’s gave her a specificity that allowed her really ground the play.” – Visible Soul

“Every performance is nuanced and extremely well crafted;…Cotton Wright [has a] marvelous turn as Allegra’s emotionally detached mother.” – Theater Knights (& Daze)

“The lead actresses ably accomplish the incremental transition from innocent girls to wiser, sadder women scarred by the world.” – Theatermania.com

“The four main female leads in this play are nothings short of extraordinary…Each woman’s performance is so nuanced, so rich, so layered and textured that this unbelievable world becomes believable. They invest so fully in this reality that you find there is absolutely nothing strange about it at all.” – Neighborbeenyc.com

“All four principle actresses were extraordinary. I had the pleasure of seeing, and reviewing the two leads, Cotton Wright (Louisy), and Christina Shipp (Syl) in Much Ado About Nothing, and Belles respectively. Both are wonderful actresses who, as lovely as they were in the previous productions in which I’ve seen them, have only grown, and I was thankful to see them be able to really let loose in roles that truly offered them the chance to go wild in the best possible way. Their honesty, and depth were the heart, and engine of the play and they never let it run down for a minute.” – Theateronline.com

“The cast turns in solid performances across the board. Christina Shipp and Cotton Wright as the cocksure Syl and childlike Louisy, respectively, provide the show’s emotional ballast…fall readily into a long tradition of codependent clown duos from Vladimir and Estragon to Bert and Ernie. Shipp and Wright bring a larger-than-life but remarkably precise physical energy to their roles, rooted in a genuine warmth that keeps the audience invested in their journeys.” – NYTheatre.com

“Even odder, the angel that speaks to her (played by a superbly demonic, creepy Cotton Wright) talks about God’s ego and laziness and tells stories of the beginning of time, when all humans had horns.” – NYTheatre.com

“Cotton Wright’s appearances as Azazyel made me wish that she could have appeared in all the shows, a stunning combination of presence, showmanship, and make-up that left me wanting more.” – Theatre Knights (& Daze)

“I was especially moved by…the spine tingling stage presence of Cotton Wright.” – Visible Soul

“Cotton Wright is truly terrifying as Joann’s guardian “angel,” Azazyel.” – Jamespeak

“Cotton Wright plays Bianca as a smug and sly coquette who thoroughly enjoys her privileged position in the family. The contrast between the two young girls makes perfectly clear the limited choices available to women at that time and how noble is Katherine’s revolt.” – Nytheatre.com