Reviews
"Moors is a force...as The Pilot slowly reveals the emotional toll of going to war each day and coming home to her family each night, Moors navigates the terrain with heartbreaking realism.
Moors makes each monologue about the once-beloved blue sky and her present-day gray screen poetic. Her words breathe color and dimension into an otherwise dreary backdrop in a black-box space.
Moors, in true hero fashion, carries us through the highs and lows with constant energy...her intimate, raw performance makes every minute count."
-Vivian Lee-Boulton, Arts ATL
"Moors wisely gives us a very individualized pilot; her strengths, her independence, her weaknesses, her love for her husband and daughter have a great specificity and individuality here. The pilot is admirably ambitious, unapologetic, independent, enthusiastic and idiosyncratic, so the final crack-up seems believable and sympathetic."
-Andrew Alexander, The Atlanta Journal-Constitution
"Equally notable was Courtney Moors in her Triad Stage debut. She brought such masculine energy to her Kenny “Hotshot” Kane that it’s not a surprise to see Shakespearean gender-flipping plays like Twelfth Night in her repertoire. Moors’ fiery swagger is so believable that when she abruptly switches roles to a gushing super-fan later in the show, it’s almost impossible to recognize her."
-Jordan Green, Triad City Beat
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VROOOMMM!, Triad Stage
"Moors is a raspy-voiced spitfire as put-upon Helena."
-Matthew J. Palm, Orlando Sentinel
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A Midsummer Night's Dream, Orlando Shakespeare Theater
"Moors gives Jane a fine air of strength behind her hesitancy. In this telling of the tale, they're the couple full of heart."
- Matthew J. Palm, Orlando Sentinel
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Pride and Prejudice, Orlando Shakespeare Theater
"Moors...is both sweet and lively."
-Elizabeth Maupin on Theater
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Pride and Prejudice, Orlando Shakespeare Theater
"Courtney Moors is perfect as the bouncy, blond, young missionary, touchingly naïve in her inflexible proselytizing."
-Carla Maria Verdino-Süllwold, Broadway World Reviews
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The Savannah Disputation, Portland Stage Company
"As Ms. Sullivan, Seward's assistant (who has several deft moments with Robbie Tann's Mr. Briggs), Courtney Moors goes from frump to femme fatale in a wicked instant."
-The Courier-Journal
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Dracula, Actors Theatre of Louisville
"Moors...is vivacious in all three of her roles. Her characters are memorable and guaranteed to bring a smile."
-April Boyle, Portland Press Herald
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The Snow Queen, Portland Stage Company
"Moors had some of the best one-liners that, when paired with her impeccable dialect, she brought the house down." -Michael Black, Theater in the Now
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I, Horatio, FringeNYC
"The resplendent Courtney Moors..."
"The cast is game, and Moors and Stine especially shine...their precise comedy zings." -Sergei Burbank, NY Theater Now
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I, Horatio, FringeNYC
"Horatio rents a room from the obtuse owner of an S&M dungeon, Nell, played with boisterous vibrancy by Courtney Moors."
-Emilyn Kowaleski, Theatre is Easy
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I, Horatio, FringeNYC
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"Courtney Moors also scored as the vamp with a heart of gold and drew additional notice for an over-the-top take on an Italian restauranteur."
-Steve Feeney, Portland Press Herald
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It's A Wonderful Life: A Live Radio Play, Portland Stage Company
"Three attractive, articulate actresses...The Three Pussy Riot Sisters is easily the most intellectually agitating and anger-inducing show I've seen at Fringe in ages, and I mean that as a high compliment."
-Seth Kubersky, Orlando Weekly
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The 3 Pussy Riot Sisters, Orlando Fringe Festival
"Courtney Moors, sadly scarce in act one, took a strong hold of her stage time in act two, bringing a solid punch to The Long Stay Cut Short, or, The Unsatisfactory Supper."
-Michael Tobin, Broadway World Reviews
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Hidden Tennessee, Portland Stage Company
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