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

Anna Deavere Smith, ever the virtuoso, fully inhabits each character. With dialect coach Amy Stoller, she captures their mannerisms, personalities, and passions, displaying tremendous range.

Trevor J. Levin, Harvard Crimson
on Notes from the Field

Amy Stoller has lovingly and skillfully tended to the cast’s dialects.

Michael Portantiere, Talkin’ Broadway
on A Day by the Sea

The cast, under Jenn Thompson’s direction, is rock solid … A special thumbs up, too, to dialect coach Amy Stoller.

Howard Miller, Upstage-Downstage
on Women Without Men

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 (and Dramaturgy – always read this edifying part of Mint’s program) add immeasurably to atmosphere.

Alix Cohen, Woman Around Town
on Women Without Men

Well directed with an impressive cast. Lovely detailed sets … and dialect coaching by Amy Stoller. Don’t miss this one.

Glenda Frank, New York Theatre Wire
on The New Morality

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

Mueller doesn’t imitate our heroine, but reflects her in many ways. She captures voice inflection and phrasing.

Alix Cohen, Woman Around Town
on Beautiful: The Carole King Musical

This production so accurately sets the time and place of its story in the 70s, that the divide seems achingly palpable in this Buffalo, NY home.

Susan Hasho, TheaterPizzazz
on The Brightness of Heaven

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 ofthe 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

A virtuosic performance from John Ellison Conlee, as Watson, and solid ones from Amanda Quaid as Eliza and David Costabile as Merrick. Plowing through a range of centuries, continents, and accents is never easy, especially in the blink of an eye, and all three are equal to the task.

Cory Conley, NY Theatre Now
on The (curious case of the) Watson Intelligence 

Conlee’s four Watsons are remarkably different from one another, yet he jumps between them seamlessly. From clothes, to mannerisms, to speech patterns (and accents!) each Watson is truly unique.

Theresa Perkins, My Entertainment World
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 

Happy, Shipkov and Agnes, with their respective precise dialects, memorably create the texture of immigrant experience in their voices.

Donald Brown, New Haven Advocate
on Agnes Under the Big Top


Dialect coach Amy Stoller has certainly seen to a believable consistency among the company members.

Erik Haagensen, Back Stage
on Wife to James Whelan

Dialect coach Amy Stoller has taken care to validate the accents.

Marilyn Stasio, Variety
on Wife to James Whelan

Apart from her own considerable hard work, it takes a dialect coach and a movement coach and assistants and a director and a line coach and a workout trainer and at least one dramaturge to create the circumstances in which Smith, most effectively, can recede, yielding ground to the people she portrays.

Susan Dominus, New York Times
on Let Me Down Easy

Anna Deavere Smith has a glorious team surrounding her in the director Leonard Foglia, set designer Riccardo Hernandez, lighting designers Jules Fisher and Peggy Eisenhauer, costumer Ann Hould-Ward and the movement and dialect coaches, dramaturge and various assistants; they all must be noted because Anna obviously knows that all the characters she brings so vibrantly to us are the work of a kind of distillation whereby gallons of liquid are distilled to produced drops of elixir.

Wickham Boyle, Midlife Mambo
on Let Me Down Easy

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, 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

Special mention for Amy Stoller, credited for dialect design. Though the casts’ accents may not sound pitch-perfect to Louisiana transplants, all the performers sound authentic to an outsider’s ears, especially Sean McNall, who brings to mind the boastful cadence of Big Easy native Harry Connick, Jr.

Andy Smith,
on Toys in the Attic

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

Robert Windeler, Back Stage
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