For Original:

“King-Campbell keeps her delivery sincere, measured, and engaging”

– JM Sullivan, The Telegram

“King-Campbell is also a magnetic actor, and in Original, she plays all three roles.”

– Dr. Andrew Loman

For Looking:

“It is incredibly funny because of the four amazing actors. Their comedic timing was excellent, they were so facially expressive, and all four members of this cast… deserve a round of applause for their work… outstanding and believable performances.”

-Janice Kitchen, The Western Star

For Tales of Ti-Jean:

“…the actors were a joy to watch… Sharon King-Campbell moved fluently from character to character, making each as wonderful as the next.”

-Janice Kitchen, The Western Star

For Antony & Cleopatra:

“In Cleo’s court, Sharon King-Campbell is an attentive Charmian.”

-John Smythe,

For Nurse Jane Goes to Hawaii:

“…the starry-eyed and garrulous romance-writer […] – a role ebulliently played by Sharon King-Campbell. […] an impressive cast…”

-Gordon Jones, The Telegram

For Hamlet:

“Individual and collective performance is uniformly sound, sometimes outstanding… Rosencrantz and Sharon King-Campbell’s Guildenstern, both capably played…”

-Gordon Jones, The Telegram

For Momentum:

“…it should be said that, in that debut, it would not be a simple matter to find professional actors better grounded and more natural in performance than… Sharon King-Campbell.”

-Gordon Jones, The Telegram

For Problem Child:

“King-Campbell’s portrayal of Helen the social worker is staunch and disgusted, her nuanced eye flutters and sheer incredulity at Denise’s lack of morals and grasp on acceptable society reflects exactly what the audience is thinking.”

– Heidi Wicks, The Telegram



For The Stars Are Always Brighter When The Lights Go Out:

“This review would not be complete without mentioning the brilliance of Sharon King-Campbell. As a director, Sharon knows the in’s and out’s of every script, and knows exactly how to craft, mold, and build to create this beautiful story in such a natural way. Sharon’s directing in this show definitely shows in the work onstage, as every piece of this puzzle fits together perfectly.”

– Stephanie Curran, The Racket

For The Good Body:

“A must see… pretty powerful stuff.”

– Wendy Rose, The Telegram

For Ismene:

“The conception and enactment of this compelling and imaginative piece is full of light and shadow, emotion and conflict.
The experience is vivid and intense, with nowhere to hide for actors or audiences. Play, performance and production certainly grabbed and held this member of the opening-night audience.”

– Gordon Jones, The Telegram

For Adrift:

“Staging in the LSPU Hall is stark and minimalist. A circular, white canvas represents the icefloe on which the last-surviving member of the doomed sealing party, Joseph Jacobs, is stranded…

With nothing but a gaff-pole and a sealskin by his side, he proffers and relives wry anecdotes…

The elements and motifs of the good-old, bad-old days are familiar and long-standing. But they are feelingly revisited…”

– Gordon Jones, The Telegram

For 52 Pickup:

“Sharp, candid and versatile, Harding and Hickey performed … before an animated and enthusiastic young audience in an unorthodox downtown venue, snugly located in the corner of a gallery with photography on the wall, lit by track lights, with patrons seated in a semi-circle before them, the front row close enough to reach out and touch, with only two chairs, a table, and two telephones as props…

The fragmented phases and minutiae of a relationship are presented prismatically… and by the end, you have reflections from the whole crystal.

A smart and bouncy and very amusing script is expertly executed at close quarters…

…you will certainly want to see this clever and entertaining hour-long piece… Space is limited and word will spread fast. So you may need to get there early to secure admission.”

– Gordon Jones, The Telegram