Chloë Whitehorn

Chloe Ariane Whitehorn: One to Watch (Barrie Examiner)
Play Explores What Women Want (Kingston Whig Standard)

"Chloë Whitehorn’s script is choc full of pithy observations and topical humour about online dating. Some of the funniest moments come when actors line up on stage as real-life versions of dating site archetypes; the nerd, the outdoor enthusiast, the jock and the suave cultural sophisticate. While the show has the light, airy feel of a rom-com, it’s also surprisingly layered. I was pleasantly surprised at the level of depth and character development as well as the way the show explores deeper themes like coming to terms with loss in a really insightful way."
  --Wayne Leung (Mooney on Theatre)

"Anyone who has ever seen any of Chloe Whitehorn's work is likely thinking the same thing I am: “It's only a short matter of time before this mega talented woman is working in L.A or on Broadway – or anything else that she decides on.” This extraordinarily brilliant gal is the reason this play is a must see! For without an epic script, you have little to stand on. LOVE, VIRTUALLY is a production that hits a raw and compelling chord. You see, it tackles the expansive topic of social media as it is experienced through on-line dating – and what it means to be true to yourself – as you contemplate finding love. And....like any of Ms. Whitehorn's intelligent and ingenious scripts – you must pay close attention! There is serious depth to her writing, and like the often complex layers of a person's life – LOVE, VIRTUALLY tells an important story – with humour, meaning and a surprise or two to keep you on the edge of your theatre seat. A 'must see' before it hits Mirvish and then Broadway.... LOVE, VIRTUALLY is “literally” perfection!"
  --Dorothy Ratusny (NOW Magazine Audience Review)

"(The Frank Diary of Anne is an) amusing and touching play about love, disillusionment and the emotional fallout from the combined collective experience. The play has an interesting technique where the live performance monologues feel spontaneous – amusingly emotional tales told with a naivete about her life. Meanwhile, her projected YouTube recordings are more formal and downbeat as the true implications of the events past sink in. In that framework, you can see a growing emotional burden as you see Anne tell her tales with a growing despair... the ending is haunting as the clash of light, costume and a dark central prop come together as Anne faces a powerful temptation to share her brother's fate."
  –Kenneth Chisholm, Touching Play About Love (SanFrancisco Review)

"Boys suck." So declares Anne—with an e, which is the only thing she finds acceptable about the name—at the beginning of the most recent entry in her live-to-video diary. Told from Anne's safe haven in the attic of her mother's house, The Frank Diary of Anne otherwise diverges from the volume the title references. For starters, she's just been dumped by her fianc, and like a modern-day Miss Havisham she wears her wedding dress as she laments her relationship with the love of her life. Chloe Ariane Whitehorn intersperses Anne's engaging story with past entries from her YouTube-like "vlog" (which is cleverly explained, by the way). These are nice video clips, shot with care and attention to detail; the biggest flaw, unfortunately, is that they're projected against the ruffled black curtain on the back wall of the McManus, which distorts the image.Anne's diary entries are self-indulgent, to be sure, but why write (or record) a diary otherwise? As a device, they're also a great way to allow the playwright to suggest but obfuscate truths that become all too evident by the end of the play. I have one outstanding question about a minor plot point that a brief web search hasn't been able to resolve: is the story of the Romeo and Juliet suicide pact true?
  --Peter Janes (Theatre in London)

"The Frank Diary of Anne is a brilliant piece of writing, performed with energy and presence by the author. Intricately built, the text gradually adds detail after detail all of which fall together brilliantly in one final reveal. The character of Anne will have you laughing even as she discusses personal tragedy after tragedy, and leave you thoughtful afterwards. A must see at the London Fringe Festival!"
  --Jack Morton

"Fucking Brilliant! And it's nothing about Anne Frank from WWII."
  --Alvin Bennett ('Frank Diary of Anne' Review)

"As its title suggests, this show is very loosely based in style on the famous work that predates it by over sixty five years although the circumstances are radically different. We meet Anne who has sought refuge from her own personal misfortunes in the attic of her family home. To keep her diary entries secret from her probing and technologically inept mother she has resorted to recording her thoughts and presenting them on Youtube. She philosophizes on a number of issues including two very traumatic incidents. The staging is effective with projections of past diary entries used to tag team with performer, Chloe Whitehorn’s live performance. Many of her musings on love and loss are quietly amusing and along with her flights of tangential reasoning provide the high points of the show."
  --Dean Hall (The Beat Magazine)

"Chloe brings Anne’s diary to life and wonderfully melds vignettes of Anne’s adolescent existence into a show that’s creative, imaginative, ingenious and highly entertaining. The script is clever and unpredictable and the play’s use of technology is masterfully balanced with Chloe’s witty portrayal of Anne, in person and onscreen."
  --Brian Houghton

"Powerful, well-acted and equally well-written (with an astonishing number of funny lines for a play on shockwaves from a suicide). Chloe Ariane Whitehorn really catches Anne's teenage voice and viewpoint. We alternate between Anne live and Anne's confessional YouTube videos--since Mom snoops in her diary but can't work the web, Anne says online what she can't write at home. A lot of Fringe shows are standup, improv, music, performance art, or circus, but "Diary" is full-on theatre, a play encompassing a whole life in under an hour. Moved me as a viewer, impressed me as a writer/performer. I'll be watching for more from her. When I review Fringe shows I have two readers in mind: mainly Fringe goers, but I try to include suggestions for improvement, for the playwright and actors. But for "Diary" I can't. Nothing I'd change at all. 5 stars"
  --Chris Wayan (San Francisco Review)

"I don't often wake up the "morning after" I see a show with it on my mind, but the story line of this one was so fascinating and carefully constructed that I was trying to recall some of the lines that might have helped me predict the powerful ending. The writing and acting were great, and I don't want to say any more lest I spoil the discovery process for you when you go see it, which I strongly encourage you to do! 5 stars"
  --Pat McKelvey (San Francisco Review)

"Played by Chloe Ariane Whitehorn, Penelope is a formidable and vulnerable queen. In her opening scene, I wondered if Whitehorn would be able to play Penelope as deeply as the character deserves, but I needn't have worried. Whitehorn's Penelope is a gracious, stoic, brokenhearted woman, someone who's holding it all together but is tired of waiting on a man who may now be nothing more than a ghost. Whitehorn draws the audience into the life of the wife left behind and she manages to give some history to the story without seeming obvious about it. Her love for both her husband and son is palpable and Whitehorn is believable as the proud and disappointed queen of Ithaca."
  –Angela Hickman, Queen’s Journal

"Jeremy Campbell and Chloe Ariane Whitehorn turn in strong performances as Andrew and Georgina, young parents-to-be with a dim future. Whitehorn is the perfect mix between nagging girlfriend and dependent, expecting mother.Her voice cracks with emotion whether she's yelling at Campbell or pleading for him to love her and the baby. When she comes home to discover a few uninvited corpses on her couch, her reaction is hysterical, in both senses of the word."
  --Christine Brousseau, Kingston Whig Standard

"The House of Yes is a deceptively difficult play. Marty's twin, Jackie-O, is a medicated mess, obsessed with her brother and the Kennedy assassination. Chloe Whitehorn plays her with enough neurosis so that we see things are not "normal" from the outset, but without turning her into a raving lunatic. Jackie-O is a great character, and Whitehorn embraces the role."
  --Joanne Huffa, Eye Weekly

"An amusing flirtation with existentialism... Elevated by the performances of Brian Froud, John McGraw and Chloe Ariane Whitehorn."
  --Eye Weekly (“Purpose” Review)

"(Gina) has her car break down in the storm and has led such a cloistered life that even the thought of having a drink is enough to fluster her... Chloe Ariane Whitehorn plays Gina, who has had a sheltered life after looking after her grandmother for years. Whitehorn fires off her lines in machine gun bursts of nervousness and is amusing doing so."
  --Greg Burliuk (Kingston Whig Standard)

"Club Chernobyl's cast is strong overall, with Craig Deacon as an unnamed man and Chloe Ariane Whitehorn as Gina providing stand-out performances. Both actors not only communicated well with the audience but made excellent use of their physical action to flesh out their characters. Whitehorn's fast, nervous rambling suited Gina."
  --Lana Storey, Queen’s Journal