Anna Deavere Smith recreates her speakers’ inflections and rhythms with an exactitude that comes only with hard study .… We become vividly aware of nuances of phrasing and tone that we would be unlikely to catch if we were watching the same people on television. (Amy Stoller is her dialect coach.)

Ben Brantley, The New York Times
on Notes from the Field

It’s an extraordinary performance, Smith’s voice and physicality astonishingly mutable, the rhythms and inflexions of each individual’s delivery meticulously observed. … It makes you want to cry and cheer.

Sam Marlowe, The Times of London
on Notes from the Field

[Anna Deavere Smith] subsumes herself within the personalities of her interviewees, capturing subtle facial expressions and myriad vocal tics, the better to honour their sentiments.

Dominic Cavendish, The Telegraph
on Notes from the Field

It is as if each person she has talked to possesses her. For each separate account, the rhythms of her body change, her centre of gravity seems to shift, and the cadences of her voice are are distinctly different as if each speech were a piece of music.

Rachel Halliburton, The Arts Desk
on Notes from the Field

The cast delivers all of the emotion and conflicts inherent in the characters and their situations, along with their authentic accents and passages of Gaeilge (the indigenous Irish language), with commitment and fluency.

Deb Miller, DC Metro Theater Arts
on The Mountains Look Different

… all of the actors not only looking the parts, but fully inhabiting the characters, capturing the right British accents and demeanors, and delivering the divergent viewpoints that Baker has defined with empathy and clarity of thought and emotion. … each completely natural in the speech patterns, timing, and characterizations.

Deb Miller, DC Metro Theater Arts
on The Price of Thomas Scott

The ensemble cast, led by the superlative Jonathan Hogan, acts in unexaggerated spirit, aided by the dialect coaching of Amy Stoller, who has gone to enormous trouble to ensure that everyone in the company nails the savory “Lankysheer” accent specified in the script.

Terry Teachout, Wall Street Journal
on Hindle Wakes

The superb acting ensemble steps into early-20th-century Hindle, England accoutered with local, quaint accents. The effect charms. Through the characters’ speech, the ancient folkways and culture of this industrial center of the cotton trade becomes manifest. Houghton’s themes can then strike our hearts with searing relevance.

Carole Di Tosti, BlogCritics
on Hindle Wakes

Amy Stoller has helped the actors to achieve that rare feat of speaking in an authentic Lancashire lingo and yet being easy to understand.

Elyse Sommer, CurtainUp
on Hindle Wakes

Amy Stoller, who is credited in the program with dialect design, is responsible for ensuring that everyone in The Traveling Lady sounds like a native-born Texan, not a tin-eared caricature.

Terry Teachout, Wall Street Journal
on The Traveling Lady

Drama at its best! One of the finest dramatic pieces offered this season, and should not be missed. … crucial Dialect Coaching is by Amy Stoller.

Al Chase, The White Rhino Report
on A Guide for the Homesick

Kudos, too, to frequent Mint collaborator Amy Stoller for dialect work to hone accents that are coherent and consistent within each piece — and distinct from piece to piece.

Martha Steketee, Clyde Fitch Report
on The Suitcase Under the Bed

Perhaps the finest takeaway is the versatility of the seven actors playing from two to four widely varying roles each, and doing so with convincing accents.

Samuel L. Leiter, The Broadway Blog
on The Suitcase Under the Bed

Kudos to Amy Stoller for dialogue coaching, especially on the subtleties of the Anglo-Irish accent.

Marilyn Lester, Theater Pizzazz
on The Suitcase Under the Bed

Every last member of the cast of The Lucky One sounds credibly born and bred in old Blighty … Cheers to all and to dialect coach/dramaturg Amy Stoller for their stellar work in this area.

Michael Portantiere, Talkin' Broadway
on The Lucky One

Every last woman (or girl) on stage gives a stellar performance in every way, and that extends to A-plus dialect work under coach Amy Stoller.

Michael Portantiere, Talkin’ Broadway
on Women Without Men

Amy Stoller’s Accents add immeasurably to atmosphere.

Alix Cohen, Woman Around Town
on Women Without Men

The opening night audience clearly enjoyed hearing the distinctive working class Buffalo accent reflected back to us in a way many of us have not heard since Ray Flynn’s and Your Host closed.

Anthony Chase, Artvoice
on For Heaven’s Sake!

Mueller has got King’s conversational vocal delivery and sonic mannerisms down pat.

Tris McCall, The Star Ledger
on Beautiful: The Carole King Musical

The Mint production greatly aids and abets the author through the efforts of the cast and dramaturg/dialect coach Amy Stoller in achieving well-honed accents for each of the characters, from lower-class Cockney to middle class to working class to upper class.

Michael Portantiere, Talkin’ Broadway
on London Wall

Not only is the set beautiful, it is functional and historically accurate; the same is true of the accents (Amy Stoller).

Claudia Borruso, The Public Reviews
on London Wall

The music of English accents felt solid from this largely American cast. (Amy Stoller handled dialects.)

Kathleen Campion, Front Row Center
on London Wall

The actors, most of whom are American, navigate the distinctly British text and its antiquated locutions with assurance and dialectal consistency. Amy Stoller, the Mint’s long-time dialect coach, deserves special recognition.

Charles Wright, Off Off Online
on London Wall

The actors distinguish their various characters capably, with their creditable British accents getting an ample workout.

Charles Isherwood, The New York Times
on The (curious case of the) Watson Intelligence

Bad Texan accents can be the kiss of death to the best play, but dialect designer Amy Stoller did her job well. The Southern accents of the entire cast were believable without being distracting or overdone.

Nikki Kruger, Montgomery News
on Dividing the Estate

The production is a major get for bookworms and theater buffs alike, repping a rare chance to see D.H. Lawrence’s world alive on stage. Director Stuart Howard and dialect coach/dramaturg Amy Stoller immerse the whole production in rural England circa 1914 (when Lawrence wrote the play), with finely-tuned accents.

Sam Thielman, Variety
on The Widowing of Mrs Holroyd

It’s the considerable accomplishment of Ms. Coffey and Mr. Brown to make these lines sound like something more than a foreign language. The director zeroes in on the small but important class distinctions at the heart of this story and illuminates the earthy, often-inaccessible slang. Amy Stoller worked on the scrupulous dialect.

Jason Zinoman, The New York Times
on The Widowing of Mrs Holroyd

Roslyn Ruff speaks convincingly in the Afrikaans cadence, even delivering the rich, rolling R sounds. Credit is due to dialect coach Amy Stoller.

Susan Hood, Hartford Courant
on Coming Home

Paula Hoza does a terrific Scots dialect as Mrs. Hudson.

Connie Meng, North Country Public Radio
on Sherlock’s Last Case

It’s done in the best possible English accent which, as Karen is from the USA and has just flown in [to England] for the week, is quite amazing. Full marks to voice coach and co-director Amy Stoller.

Philip Horton, Bath Chronicle (UK)
on Cheer from Chawton

Often irresistible hodgepodge, especially a third act fashion show, supervised by flighty couturier Mr. Windlesham (Kraig Swartz), whose French accent is a hilarious disaster.

David Finkle, TheaterMania
on The Madras House

Kraig Swartz’s witty depiction of the showroom’s fey manager is voiced in Cockney-mixed-with-French accents that has to be heard to be believed.

Michael Sommers, The Star-Ledger
on The Madras House

Dialect coach Amy Stoller deserves a deep bow for keeping the whole cast in authentic-sounding [New Hampshire] accents, even when singing.

Robert Windeler, BackStage
on The Shaggs: Philosophy of the World

Well acted by an ensemble that has obviously worked hard and to good effect on the distinct (and difficult) Nottinghamshire accent … dialect coach, Amy Stoller.

Bruce Weber, The New York Times
on The Daughter-in-Law

One can’t be other than awed by Amy Stoller as the dialect coach of this crew. It’s hard to be on stage for two hours and not falter a little putting such strange provincial sounds to English. I didn’t hear a single lapse.

Matthew Paris, XICCARPH: A Magazine of Prejudices
on The Daughter-in-Law