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What’s Been Said: ======================================== Pump Boys and Dinettes: “The great thing about the Round Barn Theatre is that you can go one night and see... Stephanie Long totally at home in [a habit], playing [a] wise cracking nun. Show up a few weeks later, and [she’s] lighting up the stage as saucy, sassy, gum chewing waitress. From convent to diner they don’t miss a beat... Burgess and Long have great chemistry, great energy, and stellar voices. When they wander the audience... they prove they have a flair for improv, too.” --Karen Rivers, South Bend Tribune Thoroughly Modern Millie: “The role of Millie, first performed on Broadway by the brilliant Sutton Foster, requires a tremendous amount of sparkle and flair, a voice of considerable range, and the ability to tap-tap-tap with resounding energy. Stephanie Long, who takes on the role with dedication and focus, is up for the task and fulfills the challenging requirements. Long and Fox tackle the challenging but beautifully written score in "I Turned the Corner" with seeming ease. “ --Anne Marie Stewert, South Bend Tribune White Christmas: Nunsense: “Katie Fox-Kirsch and Stephanie Long are both perfect for the roles of, respectively, the wide-eyed novice (and ballerina wannabe) Sister Mary Leo and streetwise cut-up Sister Robert Anne. Long offers a great vocal performance on her solos as well.” -- Karen Rivers, South Bend Tribune SML “Amber Burgess and Stephanie Long, as the boys' love interests, the Haynes sisters, were also excellent... their personalities came through clearly. ...Cornelius and Long's tap dancing interlude in "I Love a Piano" was a showstopper.” --Jack Waltor, South Bend Tribune Seesaw: “Michael Blevins choreography and direction are set to show audience members exactly how talented his cast is. From the intricate tap dancing numbers, ... the audience is given a complete tour of the talents that each of these actors hold.” --Stage Buzz Review by Patrick Doyle The Best Little Whorehouse in Texas: “For sheer brilliance, I have to mention the male and female dancers of the chorus, who add immeasurably to the show's enjoyment as they carry out Daniel B. Hess's choreography with verve and precision.” --Syracuse.com Review by Neil Novelli