Press

Betrayal by Harold Pinter, directed by Lauren Shouse, Raven Theatre, Fall 2016

 

"The elegant, delicately beautiful Boucher captures just the right balance between bitch and bewitched." Hedi Weiss, The Chicago Sun-Times

 

"Shouse's cast has a solid grasp on Pinter's sublimated drama, with everything played excruciatingly close to the vest." The Chicago Reader

 

"The cast is impeccable. Abigail Boucher, a dead-ringer for a young Cate Blanchett, is responsible for turning Pinter's tale of deception into a woman's story." The Windy City Times

 

"As Emma, Boucher strikes the necessary balance between emotion and restraint (a condition known as “being English”), and it’s her scenes, her moments that are the play’s most striking." Time Out Chicago

 

"The Emma whom Boucher shows us at the end of her marriage, in the postlude to her affair with Jerry – that is, at the beginning of the play – has been visibly affected by the turbulent years of the drama’s middle stretch. This anxious woman with darting glances and weary gaze, the one we first gliimpse at the café, has devolved from the happy, fulfilled lover to be found later in the play’s inverse narrative. It’s a closely drawn decline that credits actor and director alike[...] The scene in which Robert confronts his wife with his chance discovery of her affair is the harrowing highlight of Raven’s production, as the rhetorically circling husband closes in on his prey and she, seeing the inevitability of the truth exposed, simply and vacantly confesses. It’s a directorial masterstroke and an exhilarating piece of acting by Boucher and Neagle." Theatre on the Aisle

 

"Abigail Boucher, who leads the cast as Emma, is an absolute powerhouse actor. From her first moments onstage, the specificity and honesty of her acting sparks immediate empathy for her character, and her performance is powerful and nuanced from beginning to end." Splash Magazine

 

"Boucher’s Emma is intelligent and thoughtful, driven by her passions yet also very aware of her failings." Chicago Theatre Beat


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The Distance by Deborah Bruce, directed by Elly Green, Haven Theatre (at Raven Theatre), Spring 2016

 

"This is cruel, you know," the abandoned father tells Bea (brilliantly played by Abigail Boucher) over Skype. It is, and Haven Theatre's remarkable production, directed by Elly Green, shows the unforgiving ripple effect of that cruelty on everyone involved." - The Chicago Reader

 

"Boucher shines in a difficult role; Bea knows most people will condemn her, she knows her inability to bond with her children could fairly be called some kind of defect, and yet, her desperation and misery are so powerful, it’s not hard to understand her thought process." - ChicagoCritic

 

"Boucher delivers an outstanding, award-worthy interpretation of a very complicated woman" - Chicago Theatre Beat


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A Loss of Roses by William Inge, directed by Cody Estle at Raven Theatre, Winter 2016

 

"Boucher's Helen balances Lila's heart-on-sleeve wistfulness with a contained anguish and a realization that Kenny is about as far from being his father's son as possible — and that she resents him in ways she cannot fully express." - Kerry Reid, The Chicago Tribune

 

"This sweet-faced lad lives with and adores his single mother Helen (Abigail Boucher, awesomely authentic)." - Lawrence Bommer, Stage and Cinema

 

"The time of this story is the 1930’s, and the depression has put the United States in rough times. Mrs. Helen Baird (a divine performance by Abigail Boucher), a widow and her 21 year old son, Kenny (deftly handled by Sam Hubbard), are doing the best they can during these times. " Alan Bresloff, Around the Town Chicago

 

"Abigail Boucher is perfection as Helen, the religious, widowed mother struggling to put bread on the table and to raise her son to be a good person." Colin Douglas, Chicago Theatre Review

 

"The three lead actors are excellent in their roles. Boucher is sad and dignified as the bereaved widow, keeping it together for herself and her son." Nancy Bishop, Third Coast Review

 

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The Cryptogram by David Mamet, directed by Joe Jarhaus, Fall 2014

 

"...Boucher too is at the top of her game. She lends real depth to a mother pulled painfully between nurturing and exasperation for her troubled son. At last, as betrayals pile on top of her, she must struggle to choose between tending to him or herself. " ~ Benno Nelson, TimeOut Chicago

 

"Abigail Boucher’s visceral and vulnerable performance forms The Cryptogram’s emotional core." ~ Barnaby Hughes, Stage and Cinema

 

"And minute by minute, in a real-time frame, Donny descends from impatience to anger at the whole ugly complexion of her life. Boucher offers a stark portrait of a woman rushing to the edge." ~ Lawrence Johson, Chicago On The Aisle

 

"(..) Darrell W. Cox (a four-time Jeff winner) and Abigail Boucher are superb."~ Peter Thomas Ricci, Chicago Theatre Review

 

"But it’s worth 65 minutes of an attentive playgoer’s time for its impressively mature performance by Aaron Lamm and a superior portrait of a woman in emotional pain as conveyed by Abigail Boucher, an actress I would love to see an a more substantial play. " ~ Dan Zeff, ChicagoLand Theatre Reviews

 

"It's no surprise off-Loop stalwarts Abigail Boucher and Darrell W. Cox convincingly convey the intricate script's life-and-death stakes." ~ Justin Hayford, Chicago Reader

 


 

The Language Archive by Julia Cho, directed by Polly Noonan, Winter 2014

 

"...The acting is exceptionally strong, especially from Boucher, a very classy actress who has returned to Chicago after some years abroad and whose work here is elegant and deeply vulnerable (as it was in Kimberly Senior's memorable production of "Old Times" at Strawdog Theatre)." ~ Chris Jones, The Chicago Tribune

 



Old Times by Harold Pinter, directed by Kimberly Senior

 

"Boucher’s Kate is at once an impossible island and intimately connected to Anna and Deeley in a way that creates a sense of envy" ~ Chicago Theatre Beat

 

"Both Petro and Boucher are fascinating and their interactions are complex. This is a play perched on the very knife edge of eroticism, and at Strawdog, it sits there deliciously and dangerously. " ~ Chris Jones, The Chicago Tribune

 

"...For her riveting Strawdog Theatre Company revival of this 1971 Pinter classic, director Kimberly Senior has tapped the talents of two extraordinary young actresses wholly new to me — Abigail Boucher (as Kate) and Michaela Petro (as Anna) — and paired them with veteran Strawdog actor John Henry Roberts (as Deeley). The result is a subtle yet incendiary rendering of what is quite the psycho-sexual power game, complete with time-warped resentments." ~ Hedi Weiss, The Chicago Sun-Times

 

"... Kimberly Senior returns to the company to direct this taut, ultimately haunting portrait of middle-aged marrieds Deeley and Kate, whose lives are disturbed by the arrival of Anna, Kate's flatmate from 20 years back. Michaela Petro plays Anna with a stunning mix of cool sexual bravado and vulnerability, while Abigail Boucher's Kate and John Henry Roberts's Deeley bring subtle shifts to this opaque but fascinating meditation on the ghosts of youth." ~ Kerri Reid, The Chicago Reader

 

"... I certainly think that any student of theater or anyone interested in seeing theater in Chicago should see this production. The three actors in the show tackle the text with ferocity (...) Abigail Boucher, faced with the daunting task of playing Kate in this difficult play, does so with a distinctive flavor of British insouciance that is worth watching closely." ~ John Dalton, Centerstage

 

"This psychological drama will keep you guessing and totally engaged. Michaela Petro and Abigail Boucher exude pent-up sexual desire as both do their part in the three-way battle." ~ ChicagoCritic, Tom Williams

 

" Abigail Boucher (Kate) plays it perfectly vague. Throughout the intense banter between Roberts and Petro, Boucher is serenely expressionless. In Boucher’s powerful transformation, she awakens with disturbing memories of her own (....) Because the acting is sublime, a repeat visit is a no-brainer decision." Katy Walsh, ChicagoNow