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"Laura C. Harris beautifully portrayed the intellectually precocious character of Teresa with authoritative and manipulative panache."

-Broadway World

"The best interlude is between the always-magnetic Laura C. Harris, as a caustic advocate of ends justifying means, and the always-bracing Naomi Jacobson, as the scoffing, blunt-spoken new college president."

-The Washington Post


"Laura C. Harris portrays Henrietta Leavitt, in all her intellectual glory, wry self-knowledge (as she admits, she’s able to pursue her independence only because of “daddy’s money”) and pestering determination to get what she wants. It’s a bravura performance and you feel the weight of constantly having to fight for just a modicum of a share."

-MD Theatre Guide

"[Leavitt would] also probably enjoy Laura C. Harris’s take-no-prisoners performance as her. Crisp but expressive, she combines a sense of scientific wonder with a fitting no-nonsense attitude."

-Brightest Young Things


"Harris, seen recently at Studio Theatre playing a cocky, sharklike lobbyist in the inside-the-Beltway drama 'Kings," pivots entirely as she embodies Catherine. The cowers and flinches are painful to watch, all the more so because as Harris listens and reacts, you see how nimble Catherine's mind is, and how bruised she is...Harris is perpetually fascinating as Catherine rolls, often roughly, with the changes."

-The Washington Post

"As for Harris' Catherine, her affliction is as plain as her face (kudos...for making Harris look plain). Yes she is the one who must change during the course of the play, and she must do so naturally, so that Catherine at resolution seems to be the natural culmination of all the Catherines we have seen during the course of the play. Harris handles her character's growth during the play's one hundred sixty-five minutes magnificently. For those of us who have seen Harris from her early days as a supporting actor in small theater productions, it is obvious that she has arrived as a big-time actor. Here she seems to be the natural culmination of all the Harrises we have seen during the course of the years."

-DC Theatre Scene


“Ms. Harris is particularly engrossing as Lauren, whose moral compass is the most questionable throughout the night. In another actress's hands, this role could have fallen flat, but Ms. Harris pulls out every opportunity to show Lauren's constantly calculating brain manipulating each of the players who shares the stage with her.”

-Broadway World

“Laura C. Harris as Lauren has a brightly polished surface and a manner which suggests that if she makes even one mistake, she will fall to pieces. She and Kate used to date. Both actresses turn in subtle, emotionally honest performances, which make their scenes eminently watchable.”

-DC Metro Theatre Arts


“…it has been a privilege to observe Harris in Washington theater over ten years and see her acquire this extraordinary skill.”

-DC Theatre Scene

“…Harris gives the kind of easygoing yet laser-like performance that is becoming her hallmark on D.C. stages.”

-The Washington Post



“Harris is so persuasive as the restless, elusive Rose that you can easily conjure every one of the disastrous relationships she has no doubt sabotaged.”

-The Washington Post

“Laura C. Harris has now starred in my two favorite Signature Theatre productions…The Flick puts her in those rare ranks where I’m pretty sure she’d find something interesting and playable in reading the phone book.”

-DC Theatre Scene


“The stand-out performance that gels the action is that of Laura C. Harris…Harris should be given much credit here for making her youthful self-absorption completely organic and natural — and, yes, realistic. She thrashes about the stage, speaking and acting before she thinks, but with a ferocious authenticity that is hard not to admire.”

-The Washington Diplomat



“Harris and Corey give remarkable, soulful performances…”


“At the beginning Whitney is the highly charged livewire, and Laura C. Harris’ performance of her is electrifyingly supple.”

-DC Metro Theater Arts



“Laura C. Harris and Elan Zafir deliver these crazy fantasies like chess players, listening like thieves and fixing each other with strategizing stares- that is, when they’re not caressing like lovers or brawling like wrestlers…[They] hit all the feral marks while cagily thinking their way through Ridley’s puzzle.”

-The Washington Post

“Laura C. Harris blossoms with talent and tentacles on stage.  From one speech to the next, she brims with pugnacity and sexuality slipping in and out of the Man’s embrace.”

-Brightest Young Things

“Harris’s performance as the teenager grown hard and cruel by the world is emotionally riveting.”

-MD Theatre Guide



“…Laura C. Harris as the smoky ex, Lydia, provides the greatest effect in the shortest amount of time.”

-MD Theatre Guide

“Harris has great chemistry with Boyd and brings a great range to a person who generally cares for her ex but has an inner passion for wanting revenge on his brother.”

-Theater Mania



“Love, Moore and Harris are astonishingly credible portraying these savage, desensitized characters in their exhilarated rush to self-destruction.”

-The Washington Examiner

“Laura C. Harris perfects the ‘messed up but sweet’ character.”

-MD Theatre Guide



“…Mandy- embodied here by Harris in a breakthrough performance of almost terrifying self-assurance…”

-The Washington Post

“Harris shines in arguably the play’s most thankless task: arising discomfort in the others by appearing simultaneously ignorant of the outside world and exuberant enough to make you despise her for even trying to fit in.”

-DC Theatre Scene


“Harris serves as the emotional/moral compass for the play; her comic peppiness grows into warm empathy…”

-Brightest Young Things


“Laura C. Harris as Constanze, Mozart’s wife, delivers a remarkable performance, expressing emotions with her face that belie her character’s seeming simplicity.”


“As Mozart’s mercurial wife Constanze, Laura C. Harris reveals two or three new complexities with each subsequent scene.”


 “Laura Harris' finest moments as Stanzi come in the scenes with Salieri and the attempted seduction. She moves easily from being appalled by Salieri's audacity to deeply conflicted and finally resigned to giving him what he wants… she displays a real gift for comic timing, plays him for the fool and leaves him even more deeply frustrated. “



“…played with remarkable insight by the gifted Laura C. Harris.”

-The New York Times

“Laura C. Harris is understated and touchingly vulnerable as Olivia, a neglected kid with a literary bent. Harris's Olivia is quick but emotionally malnourished, and in her occasionally awestruck pauses you can feel the teenager drinking in Beatriz's history like a castaway finally getting fresh water.”

-The Washington Post

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