*** "Adina Verson, who has long brown hair and a steady gaze... sat on the floor and ate tuna fish from a can with a spoon."

-The New Yorker, June 15 2012

*** "The greatest pleasures in this full-bodied production are to be had from its human transformations. Seeing Adina Verson return to the male drag she donned as Yitzak in last year’s summer cabaret production of Hedwig and the Angry Inch is heaven for the many fans of that gender-bent rock show. Verson does a much fuller masculine impersonation as Ganymede, aka Rosalind in disguise. In fact, since her Ganymede is more deeply played than the Rosalind which begets him, Verson goes well beyond playful disguises; she makes us ask basic questions about sexual attraction and male bonding."

-New Haven Theatre Jerk, As You Like It  

*** "Verson... is ideal for such parts, since she’s neither dainty nor blunt but can play genuinely androgynous. When called upon to coo or be childlike, Verson comes off as annoying in an entirely appropriate way; she clearly balks at others’ expectations of her... With all due respect to Cymbeline, the play belongs to Verson’s Imogen and her beloved Posthumus."

-New Haven Advocate, Cymbeline  

*** "I loved everything about Verson’s Ariel, particularly the glowing sound of her vocals on the songs and her childish enthusiasm in playing all the roles, with Adam Rigg’s effective puppets, during the enchantment scene.  Her rendition, as Prospero, of the curtain speech was effective enough to make one willing, indeed, to 'free all faults.'"

-New Haven Review, The Tempest  

*** "Yitzhak gets no spoken lines -- except for two 'unprintable' epithets directed at her lover/boss -- but Verson's eyes speak plenty as Yitzhak shares the limelight with Hedwig, providing powerful vocal backup, or cringes somewhere in the background as Hedwig confides -- or performs confiding -- in the audience."

-New Haven Review, Hedwig and the Angry Inch