A Real Boy
"Jenn Remke turns in a fully committed performance as Terry, delivering a heartfelt paean on the joys of teaching (to which all devoted educators can relate), displaying deep affection for her student, and revealing her anxiety-ridden dedication to being politically correct (calling “stupid” a “no-no word” and reading to her class the story of Pinocchio, with which Max was not familiar, “to be inclusive”), then showing her frustration and heartbreak at being unable to change the reality of who Max is."
-Deb Miller -DC Metro Theater Arts

"Remke holds firm to her characterization of Miss Terry, acting throughout as if she is in a serious play. To her credit, there are times when Remke makes A Real Boy feel somewhat close to serious, and that is a tribute to what truly committed acting can do...Jamie Geiger and Jenn Remke do their best to elevate 'A Real Boy.'"
-Dan Callahan- Village Voice

"devoted teacher Miss Terry (Jenn Remke, convincingly sincere in an unconvincing role)"
-Samuel Leiter - Theatre's Leiter Side

"There is a lot of talent and dedication packed into the tiny Theatre C at 59E59 Theaters. "
-Tulis McCall- Front Row Center
Resort 76
"Jenn Remke's portrayal of Anya, sister to the carpet factory's chief engineer, stands out as a beacon for the direction the production should be led toward. She achieves the clarity, chemistry and truth of the script with the most impressive level of effectiveness and shows a glimpse of its greater potential. This is a startling and provocative production that is more than worth the challenge of exposing yourself to the painful importance of the story."
-Venus Zarris – Gay Chicago

"What Resort 76 offers that no other recent war play has is a look at how war changes currency…most notably Remke, who dares to show us what makes a good woman into a harlot."
-Christopher Piatt – Time Out Chicago

"Resort 76 is an excellently acted ensemble piece …Resort 76’s strength is in the immense humanity displayed by each resident. My faith in the basic goodness of man was reinforced by Resort 76. The play is touching without sentimentality. There in lies its power. " Highly Recommended
-Tom Williams –

"The show’s worth seeing thanks to a few standout performances, some solid chemistry, and a workman’s effort by scenic designer Diane Fairchild. The show’s center of gravity, David Blaustein (James Dunn), subtly decomposes from proud husband to a tormented, isolated figure. Connie Anderko mines Madame Hershkovitch’s riches-to-rags journey to compelling effect, a sentimentality effectively counterbalanced by David’s hard-headed sister Anya (a focused Jenn Remke). "
-Justin Sondak - The Centerstage Review

"A grim, harrowing tale about maintaining one's humanity and holding to one's moral compass in the midst of brutal circumstances, "Resort 76" centers around Jewish prisoners working in a carpet factory, hoping to barter a captured cat for food and privileges…Toughened by her internment, his sister Anya (a potent Jenn Remke whose scenes with Dunn make for some of the play's most intense moments) urges him to trade the cat for identity papers so that both of them can escape…. Wincelberg's themes are familiar, but his tale of compassion and community, trust and sacrifice, betrayal and redemption - with its grim truths underscored by gallows humor - still intrigues."
-Barbara Vitello – Daily Herald
Savage in Limbo
“Jen Hines’s suffocating Savage, Jenn Remke’s hangdog April, Anthony Tournis’s confused Tony, and Genevieve Hurst’s needy Linda seem capable of anything.”
- Lawrence Bommer, Chicago Reader

“Jenn Remke is wildly successful in her mesmerizing portrayal of April…Remke was quietly immovable and solidly understanding of April’s fragile emotions. Even during some of the shrillest moments, I found myself drifting back to watch Remke’s stellar silent work.”
- Emily Lee, Gay Chicago Magazine
Brighton Beach Memoirs
“Eugene’s mother Kate is the back bone of the house and Jenn Remke gives her endless energy...She is a bit of a martyr, who is beginning to resent the demands of a huge family. That resentment explodes in a gut wrenching scene that Remke plays with remarkable control allowing Kate to rant and rave but never letting her be hysterical.”
-Jennifer Greenhill-Taylor, Orlando Sentinel
Keely and Du
“Keely herself as played by Jenn Remke dominates UCF’s production: rough hewn, gruff, iron willed and utterly natural, Remke’s character is clearly a woman who has never in her life been able to make choices on her own.”
-Elizabeth Maupin, Orlando Sentinel

“Actors do shine in extended monologues...Jenn Remke as Keely delivers a riveting description of her rape.”
-R.A. Bell, Orlando Weekly

“Remke’s Keely is convincingly troubled...emotional, she is exhausting to watch, flailing around on the bed and spitting in her captor’s face.”
-Laura Bundy, Central Florida Future
Bad Seed
“Jenn Remke manages to bring some dignity to the role of Christine (Penmark), Rhoda’s mother.”
-Elizabeth Maupin, Orlando Sentinel
29 Questions
"Of the remaining plays, two stand out, both by Hillary Rollins. In Coitus Hate-Us, marvelous Frank Genniro, as an avowed woman hater, is goaded into spouting gobbets of venom but that is just the beginning. Matching him with vent for vent, Quinn Warren spews her hatred for men. Rollins' other play, Twenty-Nine Questions , also manipulates us but that's why we're here, isn't it. A simple, hokey internet questionnaire becomes transmogrified into poignancy when Cynthia (remarkable Jenn Remke) informs us that her friend, Laura, (lovely Laura Kamin) at the computer, across the country in New York, was going for a job at the World Trade Center on September 11. Director Natasha Yannacanedo keeps it simple, effective. Festivals can be more than just theater fun."
"Prop Thtr’s solidly acted production does ample justice to the script, while the playwright’s own simple, aquatic set design provides an elegant backdrop. Remke commands the stage through most of the play, rising above Candy’s ditzier lines to portray a headstrong, yet excessively manic corporate mouthpiece."
-Christopher Shea- Time Out

" Jenn Remke is great as the ambitious spokesperson who starts out corporately polished and ends up disillusioned and disheveled ( watching Remke react to her vibrating cell phone is also a comic delight ) . "
-Scott C. Morgan- Windy City Times
The Lady From Dubuque
“Jenn Remke, well known from Infamous works Savage in Limbo and Cloud 9 is almost unrecognizable as the dying woman who still manages a sense of humor despite being racked by unbearable pain...The Lady From Dubuque may mean something different to everyone who sees it, but overall, the work is steeped in profundity and alive with good performance, insightful direction and a happy set, suddenly uprooted by events that are inevitable and unforeseen. “
-Ruth Smerling,Theatre World Magazine

“Only Remke as the sickly heroine creates the necessary stylistic sarcasm mixed with confusion. “
-Christopher Piatt, Time Out Chicago

“Infamous Commonwealth Theatre is a staple non-Equity troupe that has offered some fine plays over the years. Their two part The Kentucky Cycle was a fabulous theatrical event. With Edward Albee’s weird and failed play (it closed on Broadway after only 6 performances in 1980), The Lady From Dubuque, Infamous Commonwealth has offered a stage worthy, intense theatrical play. Director Genevieve Thompson got everything out of Albee’s strange drama...John Wilson’s black and gray set design depicts a 1970’s modern living room complete with a large staircase give the small Raven studio set a large feel. Stephen Dunn and Jenn Remke have their effective moments... I like this production of a failed Albee play. Director Thopmson got much out of a wacky piece. The Lady From Dubuque is worth a look.” Recommended
-Tom Williams,
Seven Out
“The only reason to see this play in this production is to check out Jason Llamas in the lead role and Jenn Remke as a stripper.”
- Tony Adler, Chicago Readert

“…well played by those in supporting roles:…Jenn Remke as Nadia, a real scorcher with all that blond hair and saucy talk…”
- Nina Metz, Chicago Tribune

“By putting its energy into a clean staging in a difficult space and a small handful of strong performances (notably Jenn Remke’s stripper Nadia, a good-time girl who never seems to have a good time), dueEast and Stage Left are a fine match.”
- Christopher Piatt, Chicago Sun Times
Parallel Lives
“The three women deserve credit for bouncing from character to character, making them as believable as possible with minimal props (simple hats, eyeglasses and the like). They also commit to every role 100 percent with unflagging enthusiasm… Remke gives a powerful soliloquy about abortion toward the end of "God," her pauses saying more than words ever could.”
- Lucia Mauro, Chicago Theater

“…the three women performing in Euphemism Here’s revival-Laura Ciresi, Diane Honeyman, and Jenn Remke-attack the scenes with gusto, heart, and respect.”
- Kerry Reid, Chicago Reader
Broadway Bound
“One of the most memorable scenes takes place at Kate’s table… The inner play between Remke and (Michael) Marinaccio in this scene is perfectly poignant as Eugene draws the story out of the reluctant Kate. Remke is also heartbreakingly good in the moving scenes showing the break up of her marriage. As her husband wearily confesses to an affair, Remke’s face reflects the deep pain this is causing Kate.”
-Jennifer Greenhill-Taylor, Orlando Sentinel
“The Theatre UCF production of this intense C.P. Taylor play is excellent, with powerful acting...Jenn Remke portrays Helen, the wife, in an effectively poignant way.”
-Jennifer Greenhill-Taylor, Orlando Sentinel
Butterfinger’s Angel…
“A few of the other performers are quite funny, particularly...Jenn Remke who plays both Mary’s cave man like, gibberish speaking brother and a confused wiseman.”
-Elizabeth Maupin, Orlando Sentinel
Grapes of Wrath
" The most talked-about, most moving scene in The Grapes of Wrath — the novel or this adaptation — is the act of Roman Charity at the end. Jenn Remke had been competent as Rose of Sharon up to this final scene — as the entire ensemble had been competent. Once this dire epilogue started, it was as if someone had flipped a switch inside of her and the actor and the character lit up the theatre. Rose of Sharon’s interplay with Ma Joad — spoken and especially unspoken — made gooseflesh and quelled disbelief. During the brave, almost holy, final moments of the show, audible sobs could be heard from members of the audience. Beautiful and sad and heroic and pathetic, Jenn Remke takes the most difficult scene in the show and carries it in her arms. Her website says that this will be her last show in Chicago before relocating to New York, so come see her now. "
-J. Scott Hill-Chicago Stage Review

In the year round up they mentioned again my performance:

"It takes a cast as uniformly excellent as Infamous Commonwealth’s to make such moments sing. And sing they do."
-Christopher Shea-Time Out

"Every now and then, the impact is so huge, the emotions so skillfully evoked, that the viewer can only gasp in awe. That’s what happened during the opening of Infamous Commonwealth Theatre’s revival of The Grapes of Wrath, a dazzling event that is right up there with the top 10 best plays I’ve seen since I started reviewing in 1994...The fine ensemble of 19 (some taking double roles) succeeds in making each person memorable, capturing not only individual pain but also ultimate humanity."
-Tom Williams-Chicago Critic

"The Grapes of Wrath" is now being revisited in a powerhouse production by Infamous Commonwealth, one of those small but grandly idealistic Chicago theater companies that repeatedly prove they can pull off minor miracles...And everything flows beautifully in this intimate and ingenious production -- an epic on a silk shoestring that thrives on its grand vision."
-Hedy Weiss-Chicago Sun Times

"Infamous Commonwealth Theatre has an urgent and uncanny ability to pack these collective pauses with both striking craft and rewarding content. Their approach is not so much 'lets put on a show,' but rather how can we emotionally interact with our audience and the current events of humanity through complex storytelling. Once again, their intuitive and compassionate conviction pays off...a gifted and fearless cast. Nineteen actors come together on stage not so much to play, but rather to create a brutally intimate homage to the darkest scenes of our experience. Their reverence for this depiction is heartfelt and heart wrenching... Urgently relevant and exceptionally rendered, it is a theatrical experience that uniquely captures our humanity at a time when connections like these are imperative and getting fewer and farther apart."
-Venus Zarris-Steadstyle Chicago
Danny and the Deep Blue Sea
“Really: How often does a one-sided thrill ride of ogling come around, the kind where the actors nearly tumble into your lap as they wail the tar out of each other?...The brute of the title wanders into a Bronx bar one night and meets Roberta, a 30ish single mom and a real toughie. They are a match made in heaven, or Don King’s version of heaven… The audience files in while Danny and Roberta (the excellent Jenn Remke, with Bambi-soft eyes, slouchy posture and street-girl diction) heave under a blanket and reach climax… Just as compelling are the quiet moments, particularly when they turn off the lamp and murmur to each other in the darkness, lit only by a crack of street light seeping in under the drawn window blinds. In theater and in life, it rarely gets more satisfying than that.”
- Nina Metz, Chicago Tribune

“But the in-house gimmick is just an added bonus tacked onto the performances of Jenn Remke and Sean Neely, both of whom lose themselves completely in the roles of Bowery-dwelling losers who meet in a barroom, beat the hell out of each other and then head home to bed.”
- Christopher Piatt, Time Out Chicago

“Though the lovers' slap-and-snuggle courtship is conducted in severely restricted quarters, Jenn Remke and Sean Neely never transgress the boundaries of their tiny universe, occupying their roles with unwavering concentration.”
- Mary Shen Barnidge, Chicago Reader
Three Blondes Walk Into a Bar
“ There are also sweet, silly sketches, like an interpretive dance set to music from the TV show The Greatest American Hero and a laugh-out-loud diatribe about being named Jennifer….All the sketches, though, showcase women with backbones of steel, quick minds, and a perverse love of pop-culture joys...The evening is swiftly paced and the three performers have crack timing.”
-Jennifer Vanasco, Chicago Reader
Servant of Two Masters
“Most of the performances are funny and some are a delight...Including such character’s as Jenn Remke’s innkeeper, Brighella, a matron smooth as silk.”
-Elizabeth Maupin, Orlando Sentinel
Flea in Her Ear
“Jenn Remke and Brook Hanneman are perfect in the roles of the two vain wives who end up victims of their own plotting. Remke is a frenzied fury as Yvonne who is unwavering in her determination to trap her husband...Theatre UCF actors fling themselves in to their parts with total abandon. They are fearless at physical comedy...they exhibit boundless vocal energy in a play that demands screaming, roaring and bellowing delivery.”
-Jennifer Greenhill-Taylor, Orlando Sentinel

“Jenn Remke’s portrayal of Yvonne is neurotically energetic. Her facial expressions perfectly convey her exasperation in any given situation.”
-Cindy Elavsky, Central Florida Futurebr

“It’s especially worth watching for the whiz-bang performance by Jenn Remke as the breathless and exuberant Yvonne.”
-Dawn Pares, InPrint
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