“Very rarely do I find a show adapted from a Shakespearean play that truly blows my mind, and screams “originality”. Yet The Dream Project proved to be a rare example of such a show... The aerial choreography of Kendall Rileigh is a particular highlight of the show and left audiences applauding mid-show on more than one occasion.” - Anthony J. Piccione, OnStageBlog.com on The Dream Project

“The most striking element of the performance is the cast’s use of silks. Each of the three fairies can most often be found in mid-air: hovering, undulating, cackling, and meddling at any given moment. They feed off of Titania’s magic, weaving a web of destruction among the mortals wandering the forest floor.” - Chelsea-Rae Abbate, Manhattan With a Twist on The Dream Project

“The evening is built on circus visuals, and Kendall Rileigh’s non-stop swirling aerial work – choreography in the air, really – evokes and underscores not only the soaring freedom that Hetty seeks but also the binding, sometimes convoluted relationships that can either comfort or constrict.” - Gail Obenreder, Delaware Online on Hetty Feather

“A blaze of energy, a veritable concoction of Charles Dickens, Orphan Annie, and Cirque du Soleil. The six-member ensemble perform all sorts of astounding aerial feats.” - Christine Facciolo, WHYY.org on Hetty Feather

“An enchanting production that lifts the spirits and raises the roof... All move gracefully in the air, with the help of Aerial Director Kendall Rileigh.” - Tim Dunleavy, DC Metro Arts on Hetty Feather

“This production is wildly fantastic. Aerials play a major role and the titian red silks bring luster and fantasy to the production.” - Greer Firestone, Broadway World on Hetty Feather

“Hetty’s exultation of flight and the theme of seeking three-dimensional freedom in a restrictive, one-dimensional world are always clear because of the circus apparatus’s allure and the cast’s adventurous movement.” - Mark Cofta, Broad Street Review on Hetty Feather

“Kendall Rileigh as the slinky and flexible Mo-Mo delighted us along with the rest of the quirky troupe...” ~Deborah Anderson (Off Off Online) on The Astonishing Times of Timothy Cratchit

“Kendall Rileigh as a yearning, superannuated, slightly loose boarding house resident and an acrobatic performer in Grimaldi’s troupe had a charming, graceful quality.” ~Joel Benjamin (Theater Pizzazz) on The Astonishing Times of Timothy Cratchit

“Co-writer Kendall Rileigh is the young woman on the piano, who on awakening begins to play it, beautifully — a mixture of modern classical and jazzy stuff — and several times takes to the sashes [aerial silks] to display extraordinary agility and skill.” ~Martha Keravuori and Chuck Galle (Triangle Arts and Entertainment) on ASYLUM

“Even without the beautifully told story [by Kendall Rileigh and Nicki Miller] accompanying it, watching ASYLUM would be thrilling as a purely gymnastic / athletic / choreographed accomplishment. [Rileigh] emerges with a spectacularly controlled gymnastic maneuver and plunks a repeated note on the piano... and she brilliantly sets the tone for what is to come... It would be hard to deny that even without the provocative storyline we could easily watch this performance just for the athletic finesse of all the performers.” ~Jeffrey Rossman (CVNC) on ASYLUM

“Their only daughter, Kathleen, has the meatiest of the roles and Kendall Rileigh really shone. Looking stylish in her 70's garb and long red hair... Rileigh was perfect as the frustrated, angst ridden daughter who longed for both her parents' approval, but truly only had her father's.” ~Michael Rabice (Broadway World) on For Heaven's Sake

“This argument, carried out with great emotional authenticity between mother Joyce [Kate Kearney-Patch] and daughter Kathleen [Kendall Rileigh], is the axis about which For Heaven’s Sake turns.” ~Douglas Levy (The Daily Public) on For Heaven's Sake

“The acrobatics of Kendall Rileigh, though, almost deserve their own show. She does walk-overs, front and back, as easily as most of us breathe – she’s a former student of Moscow Art Theatre, Circus Warehouse. It shows.” ~Jeff Myhre (NY Theatre Guide) on Injunction Granted

“Nathaniel P. Claridad, Cliff Miller, tap dancing whiz Lorinne Lampert, accordion playing Perri Yaniv, the amazingly acrobatic Kendall Rileigh and Roe have every reason to be proud of their pitch perfect performances and amazing teamwork.” ~Henry Edwards (Newsvine) on Injunction Granted

“Kendall Rileigh is winning and polished, and she has an especially nuanced scene with the wife she’s meant to portray.” ~Kathleen Campion (Front Row Center) on The Groundling

“Kendall Rileigh as Victoria finds a wonderful balance of sharp derision for being duped into all this and genuine concern for doing justice to the play and for the people she finds herself surrounded by.” ~Collin McConnell (NY Theater Now) on The Groundling

“The leader of the charge demanding accountability within the family is the whip-smart career-woman Kathleen, played by cast standout Kendall Rileigh, who glows with an easy wit and the ferocity of her deeply held beliefs.” ~Aimee Todoroff (NyTheatreNow.com) on The Brightness of Heaven

“Kathleen Kilgannon (an excellent performance by Kendall Rileigh)... can no longer pretend to be holy while living in self-deception and misery.” ~ Carole di Tosti on The Brightness of Heaven

“A welcome and complicated exception is the disheveled Clara Oakes (Kendall Rileigh), an also-ran as an artist and a woman.” ~Claudia La Rocco (The New York Times), on A Man's World

“Ms. Rileigh remarkably crafts the character of Clara, an unsuccessful female artist in Frank's shadow, by bringing an exciting unpredictability to her vocalizations, movements, and interactions.” ~Adam Neal (Travellady.com), on A Man's World

“The cast is excellent, with Kathleen Dobbs as Frank and Kendall Rileigh as another neighbor Clara giving especially fine portrayals.” ~Brenda Repland (ArabVistas), on A Man's World

“Kendall Rileigh brings pathos to her touching portrait of miniaturist Clara Oakes, the one artist among them with little talent and little ability to take care of herself.” ~Victor Gluck (TheaterScene.net), on A Man's World

“Kendall Rileigh makes the meek Clara an object of sympathy without appearing pathetic.” ~Joel Benjamin (Theater Pizzazz!), on A Man's World

“The cast boasts some extraordinary performances... Kendall Rileigh as Birdie Bagtry personifies that compassion, desperation, determination, bewilderment, and pride particular to the Southern aristocracy and reminiscent of Tennessee Williams's heroines. The two women [Rileigh and Elizabeth Norment] make a tragedy of sensitivity.” ~Susan Jonas (NYTheater.com), on Another Part of the Forest

“Rileigh charms thoroughly as the sweetly hapless Birdie.” ~Andy Propst (TheaterMania), on Another Part of the Forest

“Birdie, pursuing money for the family's cotton plantation, is played by a delicate Kendall Rileigh. She finds the right note of reluctant strength and humility in the face of ruin.” ~Jason Grant (Hamptons.com), on Another Part of the Forest

“Also notable is Kendall Rileigh as Agnes, William's mad sister. Rileigh seizes her two scenes — one mad and one sane — and doesn't let go.” ~Erik Haagensen (Backstage), on The Drunkard

“Rileigh demonstrates mastery in her performance of a wounded soul.” ~Doug Strassler (Off Off Online), on Sex & Violence

“One stand-out performance was a monologue by Molly (Kendall Rileigh) at the beginning of the second act. It was delivered simply, truthfully, and was a beacon of pure emotion in real circumstance.” ~Dianna Martin (The Happiest Medium) on Sex & Violence

“Rileigh has a world weary and dry delivery that gets laughs with the simplest of lines.” ~Darron Cardosa (Theasy.com), on Sex & Violence

“Kendall Rileigh is a pure delight who embodies the magical/mystical nature of Ariel physically, vocally, and musically.” ~Stephen Morgan-MacKay (Off Off Online), on The Tempest

“Kendall Rileigh promises to be a fine Juliet, judging from her stunning performance as Arkadina in The Seagull” ~Orla Swift (Raleigh News & Observer)

“Kendall Rileigh makes a dreamy Juliet. Their star-crossed romance loses none of its dramatic power…” ~Robert McDowell (Robert’s Reviews), on Romeo & Juliet

“Standouts include Kendall Rileigh, who dauntlessly portrays the ‘strange liberation’ of a madwoman…” ~Adam Sobsey (Raleigh News & Observer), on Sonnets for an Old Century

Named one of “the region’s best actors” ~Robert McDowell, 2004 Triangle Theater Awards (Raleigh/Durham/Chapel Hill, NC)

“Kendall Rileigh is absolutely hilarious as she peers out of the ‘Coke bottle’ lenses through which she sees life.” ~Faye M. Dasen (The Pilot), on The Miss Firecracker Contest

“Kendall Rileigh is a lovely, sweet, sad picture of lost innocence as Heavenly Finley.” ~Robert McDowell (Robert’s Reviews), on Sweet Bird of Youth

“Exceptionally fine performer” ~Scott Ross (Robert’s Reviews), on James Joyce’s The Dead

“Kendall Rileigh is terrific as the deeply resentful Bluma, whose best prospects for marriage were torpedoed by her mother’s defiance of the ultra-fundamentalist code.” ~Robert McDowell (Triangle Theater Review), on Women’s Minyan

“…including Kendall Rileigh in a scene-stealing turn as Popeye Jackson” ~Tim Hagar (Up & Coming Magazine), on The Miss Firecracker Contest

“Kendall Rileigh provides the piece’s narration compellingly.” ~Andy Propst (Backstage), on Twas the Night Before

“Kendall Rileigh fully animates Maria, the trickster maid…” ~Byron Woods (The Independent Weekly), on Twelfth Night

“I would also mention the fine work… by Kendall Rileigh as an Ariel who is exceptionally light and airy” ~StagestruckNYC on The Tempest

“Kendall Rileigh’s gaunt work as Bluma and Sarah Kocz’s Adina add rock-solid performances to two already impressive resumes.” ~Byron Woods (The Independent Weekly), on Women’s Minyan