Acclaim
"(Director) Hartford hits every beat perfectly with Lefebure and Gill’s performances. Now add a spooky soundtrack and a creepy voice on the phone, and we’re done. Masterpiece."
Film Threat
"There’s so much depth in this film and so much truth behind every one of these distinct relationships. You won’t see any surface-level two-dimensional characters here....Even Maeve played by Annie Gill, who is the closest to any kind of classic antagonist, often felt the most relatable. Although I wanted to dislike her for the way she handled her feelings and resisted the process — I see myself in her. It’s not easy to pull away the curtain. Perhaps that urge to dislike Mauve is just a reflection of the self."
Weekender
"Without a doubt, such an organic, vivid portrayal would not be complete without contributions from either the impeccable performance of actors or the genius of Jennifer Cooney..."
New Jersey Stage
"Plus, it also doesn’t hurt that the cast is stellar in this story, and they all sell their journeys and concerns with a raw honesty that is hard to bring forth in film."
"The Wild Fire ensemble are strong performers, creating raw characters with compelling anxieties...Maeve (Annie Gill) and Noah (Todd Licea) struggle to be intimate with one another...Wild Fire is clearly inspired by The Big Chill (with a queer twist!)...The group conversations about sex, love, life, and death are intellectually stimulating... Wild Fire radiates with the kind of intensity and sexual intrigue that is sorely missing from our current film landscape."
Cinematic Visions
"Noah and Maeve are the alleged perfect couple. They are played adeptly by Todd Licea and Annie Gill, and each of the actors take their character through a wide range of emotions. Both have secrets, both have concerns."
Mike Szymanski from Dreamweaverarts
“The first [opera], Joseph Kaz’s 'The Female Stranger,' adapted from local Alexandria lore about an 1816 tombstone with that name, features Annie Gill as a sickly Brit whose spouse (Katherine Fili) is having an affair with a figure named Andrew (Kelly Curtin). Baritone Spencer Adamson as a local pastor makes a welcome entrance to complement the three soaring sopranos...The 90 minutes end with Michael Oberhauser’s 'The Name on the Door,' which adapts an Old Testament tale into a modern story of pop stardom, with Gill as a Madonna-like Jezebel of a certain age, reacting to a loutish producer (Adamson) who has turned his professional and romantic attention to a younger Ariana Grande-type (Curtain)... Would that more Fringe productions imbued their works with this much ambition and sheer talent.”
Roger Catlin from The Washington Post
“The singing in this quartet of operas is first-rate throughout...all the singers have had substantial professional success. In range, tone, technique, dynamics, and vocal characterization, they provide fully realized performances of their material...their acting – particularly that of Gill and Curtin – is also strong throughout.”
Bob Ashby from DC Metro Theater Arts
"There is also clear, bright singing from Annie Gill in two song sets to poems by Linda Pastan and Christina Rossetti."
Laurence Vittes from Gramophone
Click HERE for Ms. Gill's complete critical coverage