"Fun Home" - Phoenix Theatre Co.

   "As the older Alison, Becca Ayers' inquisitive nature and sense of urgency works incredibly well to portray this woman who is attempting to discover facts and insight by observing moments in her past. Her heartfelt narration is filled with humor and pain. While she is mainly an onlooker for the majority of the show, when she is pulled into the narrative for the song "Telephone Wire" and steps back in time to replay the last car ride she took with her father, Ayers' desperate looks and aching pleas as she tries to find a way to connect with her father make for a painful and chilling moment that is infused with realism. It's also a perfectly relatable moment for anyone who has ever had something important to say to someone they love but doesn't quite know how to say it."Gil Benbrook, talkinBroadway.com

     "Its rendering in Phoenix Theatre's current production, directed with distinctive acuity and sensitivity by Robert Kolby Harper, is all of perfect, bound together by a cast, each of whom, from children to adults, delivers distinctive and memorable performances." Herbert Paine, Broadwayworld.com

“Dogfight “– Second Stage

     “…led by the luminous Lindsay Mendez as Rose Fenny, Annaleigh Ashford, Dierdre Friel and Becca Ayers, are all so compelling and likeable.”  
David Hurst, Next Magazine 

     “The performers are a complete pleasure to watch… through sheer skill and discipline. The harmonies are close and the pleasure these actors take in singing is palpable… You should be seeing these actors again if there is any theatre justice roaming the streets.”  
Tulis McCall, New York Theatre Guide 

     “…wonderfully acted by a 11-member cast…”  
Jonathan Mandell, The Faster Times

"Fun Home" - Virginia Rep (Cadence)

   "The star of the show is Alison Bechdel. The three perfectly matched females each bring unique qualities to the role, while giving consistent performances to credibly embody the singular character. Each has defining moments throughout the show. ... Ayers is present for the entire production, often in the shadows, ceding to the onstage action. Her "Telephone Wire" perfectly captures Alison's zeal and newly discovered connection with Bruce."
Jeremy Bustin,  BroadwayWorld.com

"42 Seconds of Happiness" (Indie Feature)

*BEST FEATURE –  WOMEN TEXAS FILM FEST 
*BEST ENSEMBLE CAST – HARLEM INTERNATIONAL FILM FEST 
*INDIE SPIRIT AWARD & BEST ENSEMBLE CAST –  PRINCETON INTERNATIONAL FILM FEST.

     “With her striking beauty and dynamic charm, Becca Ayers is imprinting her delightful facets on the indie genre. If you adore statuesque actresses such as Katee Sackhoff and Cate Blanchett then include Becca in your cherished list. She stars in the entertaining film “42 Seconds of Happiness” which has swept multiple awards at numerous film festivals. …  Becca adeptly exhibits her character Cybil’s journey from sanguine to growing strain while at a reunion of friends as secrets are exposed and unresolved tensions come to a head. Just like her cast mates, Becca intelligently improvised on the initial screenplay which added authenticity to the film. 
     Becca has also been eye-catching on the theatre scene regularly getting commendation for her sterling work. She’s been lauded as compelling and likeable, praised in the same breath as Annaleigh Ashford of “Masters Of Sex” fame. Don’t we all go delirious over charming blondes who have a wonderful presence on screen?  I for one would love to see Becca on television. She would be a formidable addition to the cast of any hit series right now. At this moment she’s making a vast impression on the film festival circuit so start applauding the articulate and gifted Becca Ayers.” Haren Yong, Actress and Life Obsession Blog

"Sarah, Plain and tall" - Lucille Lortel

     “The cast is Broadway caliber. Becca Ayers as Sarah has just the right gawky appeal, thanks to a lovely singing voice and pitch-perfect performance.” 
Roma Torre, NY1 

     “Ayers makes a striking heroine, mastering both Sarah’s genuine kindness and her insecure need to be liked.”  Mark Blankenship, Variety 

     “Becca Ayers embraces this role and accepts the traits as if they were her own…Ayers is both secure in the awkward skin of Sarah and emboldened by her character’s idiosyncrasies. It is as if by each successive rejection, she becomes more confident of her identity.”
 Jo Ann Rosen, nytheatre.com 

     “Becca Ayers, slightly reminiscent of a tall Cate Blanchett, perfectly captures the awkward tomboyish Sarah, who refuses to change for anyone in her affecting performance of ‘Is it me you want to kiss?'”
Time Out NY 

     “…the nimble cast is up to [the] multilevel role playing…and the ensemble work is well nigh flawless. Just the same, Becca Ayers is hard to miss as Sarah. This big-boned blond is tall and strapping all right, although she’s about as ‘plain’ as a Victoria’s Secret model. But she has such an affinity for the tomboyish Sarah (and enough conviction as an actress to pull it off) that we’ll humor her.”
Variety 

     “The incomparable Becca Ayers returns to the role of Sarah with grit, determination and a clarion voice that serves Laurence O’Keefe and Nell Benjamin’s tuneful score beautifully.” 
David Hurst, Next

"A Little Night Music" - Barrington Stage/Bristol Riverside

     "Becca Ayers (who worked with Boyd in BSC's "Cabaret" last season) took a different tack with Petra's thoughtful-yet-lascivious anthem; "The Miller's Son," bouncing through the number with both winking joie de vivre and a knowing glance. It capped Ayers' strong interpretation of the randy, mugging maid." Michael Eck, Special to the Times Union "The Mega Byte Award for Best Musical Performance by an Actress: Becca Ayers as Petra. Her role as the earthy maid made a big impression." CurtainUp.com 

     “The show’s earthier inistincts are in the more-than-capable hands of Becca Ayers as Petra, a lusty maid in the Egerman household. This is a full, robust, commanding performance.” The Berkshire Eagle 

      “A word about Becca Ayers as the servant Petra and her show-stopping “The Miller’s Son” which Sondheim places next to closing. The word is fabulous, or maybe gut-wrenching. Ms. Ayers, a minor character until that moment, commands the stage.” Mae G. Banner, Chronicle Freelance

     "Also excellent is Becca Ayers who brings a terrific sensuality and verve to the role of Petra, the Egermans' maid. She really proves herself in "The Miller's Son"... advancing theme as opposed to action." Ralph Hammann, The Advocate SUNSPOTS

    "... leaving Becca Ayers (Sally Bowles in 'Cabaret') to belt out what becomes the show stopper, "The Miller's Son." The Boston Globe

     “… the maid [is] played wonderfully by Becca Ayers. Her rendition of ‘The Miller’s Son’ comes close to stopping the show.”  
J. Peter Bergman, The Independent 

    "Becca Ayers shines in the role of Petra, as she acerbically accepts her fate of mediocrity in singing of "The Miller's Song." Elanor Koblenz, The Daily Gazette

"Lovesick" Album

     “Ayers’ songs combine the simplicity of coffeehouse folk music with introspective pop to create a sound, even a genre, that’s distinctly her own. Free spirited and tuneful, Lovesick is an indie triumph. (Alchemy Pop Records)”  
David Hurst, Next Magazine

"Cabaret" - Barrington Stage/Orpheum Foxboro/Cambridge Theater Company

     “Becca Ayers gives Sally Bowles a nervous energy that betrays this song-and-dance girl’s fear of being a loser. While Ayers displays Bowles’ wild, unpredictable side in “Don’t Tell Mama,” she is pure and sincere in “Maybe This Time.” It’s a wonderfully vivacious and vulnerable performance that reaches out to connect with the audience.”   Jerry Byrne, Boston Herald 

     “The evening, however, belonged to Becca Ayers, playing the legendary Sally Bowles. She has a lovely voice and was the perfect picture of the wanton English girl, oblivious to everything except her good times and sex games. In addition to the familiar songs, “Don’t Tell Mama,” “Perfectly Marvelous” and “Maybe This Time,” her smashing rendition of “Cabaret” provided a grand finale to this Kander and Ebb musical.”   Sam Freedman, Bravo – The Performing & Visual Arts Newspaper for Western MA & Northern CT

“Children of Eden” – Ford’s Theatre

     “Both Cassidy and Ayers are moving actors who wear their roles well… Ayers is outstanding as Eve. Her first solo, ‘The Spark of Creation,’ is a tiny musical miracle, showcasing Ayers’ vocal nuances and pop belt.” Jolene Munch, Metro Weekly 

     “As Eve, Becca Ayers sings with such utter conviction that the sounds very nearly solidify into a physical shape with a specific weight and matter.”  
Mary Carole McCauley, Baltimore Sun 

     “Ayers displays an immense amount of range throughout the piece and has a voice that simply soars.”  Tracy Lyon, Talkin’ Broadway 

     “It has the most infectious cast seen in many a day with full throated voices who manage beautiful articulation so every word of the script can be understood. Bradley Dean (Father/God), Becca Ayers (Eve/Mama) and Joe Cassidy (Adam/Noah) are super magnificent in their singing and acting with the biggest showstopper, of which there are many, by Ms. Ayers belting ‘Ain’t It Good?'” 
Bob Anthony, Foggy Bottom News 

     “Standouts in the cast include Becca Ayers as Eve. Her voice is amazing and her delivery pulls the humor out of each line. When Eve bids farewell in her death scene it is actually quite touching.” 
Rich See, CurtainUp 

     “Becca Ayers, who plays Eve and Mama, has a speaking voice that is just as vibrant, clear and full of emotion as her singing voice, which is a gift.”  
Lisa Troshinsky, The Washington Diplomat 

     “The cast is vocally stunning, especially Bradley Dean as God/Father and Becca Ayers as Eve/Mama Noah, who also handles her comic lines in the Noah story with such accomplished punch the audience was with her all the way.” 
Ben Ryland, baltimoregaylife.com 

     “As Eve/Mama, Becca Ayers is splendidly exuberant, with a wondrously clear vocal instrument that sells each of her songs with joy and authority.”  
T.L. Ponick, Washington Times 

     “Playing the parts of Eve and Mother, Noah’s wife, Becca Ayers wows the audience with her incredible vocal range, accurately capturing 
each genre of music used in the show, and closing the first act with an exceptional performance of ‘Children of Eden’.”
Mary Frances McCarthy, Arlington Catholic Herald 

     “As Eve/Mama, the extraordinary Becca Ayers’ amazing voice dazzles…”  
David Hurst, Next Magazine

“Sarah, Plain and Tall” – Dallas Theatre Center

     “Becca is so natural and real that you smell the salt of the ocean when she walks on stage. Her voice is pure and rich. The audience is enchanted as she tells her story.”  
Thomas Wattley, Dallas Weekly  

     “Becca Ayers transforms herself poetically into this tall, thin railed easterner. At times Hepburnish in her walk and delivery, she truly brought the written character of Sarah to life before our eyes.”  
Matt Mungle, Irving Rambler 

     “As the title character, Ms. Ayers is a singing and dancing dynamo whose onstage persona perfectly exemplifies the liberated spirit of her plain and tall character…. Ms. Ayers is an extremely gifted and talented actor with a formidable stage presence.”  
Rick A. Elina, North Dallas Gazette 

     “Becca Ayers as Sarah is statuesque, bellowing and brash, but full of the milk of human kindness. She makes Maine’s rustic beauty inflect the Kansas cornfields around her… It is a pleasure to see Ms. Ayers take a character like Sarah Wheaton and access her underlying desire for freedom while witnessing her growth into domestication. In the end, Sarah doesn’t bristle against the reins but puts them over herself not a a tamed beast but as a companion in the harness.” 
Joan Artery, Renegade Bus 

     “Ayers has a proud mien and sturdy way about her that perfectly captures the fiery independence of a woman beset by chauvinism…”  
Arnold Wayne, DallasVoice.com 

     “Broadway actress Becca Ayers is charming in the title role, with a lovely voice and natural physicality.”  Dustin Reasons, Star

“Honkey Tonk Angels” – Virginia Stage Co.

“Hello, Dolly ” – Lyric Theatre of Oklahoma

“The Mystery of Edwin Drood” – Repertory Theatre of St. Louis

“Spare Change” – New York International Fringe Festival

“The Last 5 Years” – Speakeasy Stage Company