Lyndsay Rose Kane

The ensemble commits themselves to the script as if they were clinically committed to an asylum. Most are perfectly fitted into the theatrical straightjackets of their roles. Lyndsay Rose Kane is mechanically malicious as Gertrude. 

Venus Zarris,  Chicago Stage Review

Lyndsay Rose Kane turns her Gertrude into a venomous coquette one moment, an anguished victim of circumstance the next.

  Kerry Reid, The Chicago Tribune

In particular, the persevering Kane is relentless as the protective mother.  Kane fully invests in her grueling emotional performance.  And within her palpable hysterics, she continually shifts into hostess by offering cookies to Steele and Wisniewski. Later, her interaction with Wallace is heartbreakingly tender.

The Fourth Walsh

Kane plays Harriet as a typically chipper sitcom mom, though she plants hints of strain and anguish behind the wide smile permanently frozen on her face.

Zac Thomas, The Reader

Lyndsay Rose Kane’s Duchess is a princely fortress, delicate lattice one moment, stubborn steel the next.

New City Stage

The Duchess is one of my favorite characters in theatre, and in Kane’s hands, she is a loving, courageous, admirable, and deeply sympathetic woman. The scene in which she proposes to Antonio is as funny, sweet, and heartwarming in this production as in any, and from the moment Kane first walks on, we are unshakably on her side.

Jacob Davis, The Chicago Critic

As the title character — a widow who, against the dictates of her brothers, secretly weds and has a family with a commoner — Lyndsay Rose Kane moves from a rather pettish and immature woman to one whose descent into the maelstrom of political intrigue and murder deepens her self-knowledge. It’s a mesmerizing turn, and Kane is balanced by her onstage brothers.

Kerry Reid,  Chicago Tribune