2017, Monkey Baa Theatre

"Anne Wilson as Catherine, nicely navigates the jagged journey from emotional cripple to convalescence..."

Richard Cotter, Sydney Arts Guide

Life Without Me

2016, The Reginald Theatre, Seymour Centre

"All of the characters transform from beginning to end, and the professionalism of the actors encapsulates this. The play appears naturalistic, with great transitions from night to day and sounding that reflects this thanks to a great creative team..."

Life Without Me

2016, The Reginald Theatre, Seymour Centre

"So too is the relationship between married couple, Tom and Ellen (Brendan Donoghue and Anne Wilson). Ellen is feeling a little smothered and Wilson captures the indecision and remorse in the character. Tom hopes that pretending they are meeting for the first time will rekindle her affection, and Donoghue portrays clearly his early optimism – and his dashed hope..."

Life Without Me

2016, The Reginald Theatre, Seymour Centre

"In Life Without Me we are presented with a collection of seven characters engaged in search of identity and purpose. This sometimes farcically absurd, occasionally haunting exploration of how individuals can become caught in the past and feel, to paraphrase one character, “that their lives are going without them in it..."

2016, at The Reginald Theatre, Seymour Centre

"Daniel Keene is a playwright whose work is rarely staged in Sydney, which says a lot about the mist of incomprehension that hangs so thick and so often between here and Melbourne. Thanks however to the intrepid Anne Wilson and her indie company Illuminate Educate, Life Without Me has had a too-brief season..."

The Cranston Cup 30th Anniversary Show

2015, at The Enmore Theatre

"Audiences should expect the unexpected! Theatresports is entirely made up on the spot based on audience suggestions, so audiences are in for a night of hilarious improvised songs and dances, scenes and characters. Every team is so strong- Morpheme Addiction has the sharpest wits; Sesame Streetwise can practically read each others minds..."

Bridie Connell, The Brag

Cranston Cup Grand Finalists- Sesame Streetwise

2015, The Enmore Theatre

"Most people go weak at the knees when they think of standing up, on stage,  in front of a hall of people.  Most people would freeze up, feel the trickle of sweat roll down the back of their neck, and their mouth suddenly go dry.  Most people wouldn't dare step on stage with no speech or prompts. Yet, there is a special group of people who do.  

The Cranston Cup is Australia's esteemed theatresports competition. Teams of two or more don the stage to showcase a panel of judges and audience members their skills of improvisation..."

Regina Su, What's On Sydney

 

Lady Fingers take New Zealand by Storm!

2015, BATS Theatre, Wellington 

Winners of the "Best Ensemble" and "Best Show" in The New Zealand Improv Festival

"Lady Fingers promised Wellington a musical treat and that's what they delivered at BATS last night during the New Zealand Improv Festival. 

If improv is the theatrical equivalent of walking a tightrope without a net, then the three talented women who make up Lady Fingers have set their rope at just the right level to both thrill and entertain... "

Jo Blick, Theatreview

Neighbourhood Watch

2015, Bondi Pavilion Theatre

 

"Neighbourhood Watch is a part real, part imaginary drama about an actress Catherine (Anne Wilson) and her neighbour Ana (Gertaud Ingeborg) from Hungary..."

David Spicer, Stage Whispers

Orfeo Ed Euridice

2015 Spectrum Now Festival; Art Gallery of NSW

"Shannon Murphy's playful exploration of new audience/performer relationships – as mourners at funerals, as gazers in a gallery, as furtive glancers across a crowded restaurant..."

Peter McCallum, SMH

 

Winner of Reviewer "Suzy Goes See"s Best of 2014

2014, Short Sweet and Cabaret

Quirky Questers Category: 'The most unusual and colourful characters to appear on our stages in 2014'

For my cabaret character "Pastor Dorcas"

The Big Farewell Party

Short Sweet and Cabaret, Sydney 2014

"If planning your own funeral seems like an odd choice for a cabaret, think again. Anne Wilson’s engaging personality and delivery make The Big Farewell Party a hoot, even for someone recently bereaved like myself. And when she launches into a mega-mix of funeral music clichés, the piece takes flight, and Wilson finds the scope to really display her vocal versatility."

Neil Litchfield, Stage Whispers

What I Did For Love

2012 at El Rocco, Kings Cross

"A cut above. She captures something of the feeling of pathological self-sacrifice which attends co-dependency, embodied so eloquently. Eclectic… unconventional… brave… undeniably moving." 

Lloyd Bradford Syke, Curtain Call

What I Did For Love

2011 Melbourne Fringe Festival

"Wilson is clearly an amazing performer. The story is set out in a series of vignettes, with Wilson shining in every song and making every story personal and convincing. Her lovely voice never loses its control of the material even while she’s breaking down emotionally on stage. Her charm was perhaps one of the greatest strengths of the show... and I found myself genuinely moved". 

Adam Tonking, Theatre Press.

Alice In Wonderland

Directed and Adapted by Anne Wilson. Pymble Players 2010

"The driving force behind the show is director Anne Wilson, who's laboured on her version over the last two years. Most impressively, she's managed to successfully adapt this much-loved classic within the limits of a confined space, a short (child-friendly) running time and a small cast. Her creative vision also extends to both the lighting and stage design, and her level of ingenuity in tackling the story's more fantastical elements allows the play to stand shoulder to shoulder with some of the best productions of Carroll's work."

Joan Beal, Arts Hub.

Curtains- The Musical

NSW Premiere 2010

"Anne Wilson upped the ante. She's an all-rounder: acting, singing and dancing are all a cut above, and she could happily find a place in any company." Lloyd bradford Syke, Curtain Call.

"Anne Wilson, as leading lady Georgia Hendricks, was vivacious in the big numbers, but had a broad dynamic range across the piece." 

Neil Litchfield Stage Whispers

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