“But ultimately, Electra is Wong’s show. She’s great at a distance, icy and commanding, and she’s still exerting incredible control near the end, when we’re near enough to see the clips in her hair. But it turns out that Wong has been burning a very long fuse; as we get up close, we see gunpowder in her eyes. It’s frightening when we realize she’s starting to spark. We only just have time to realize that [director David] Herskovits has put us right next to her—when the bomb goes off. (Read full review).”

– Helen Shaw, TIME OUT NEW YORK

New York Times Critics’ Pick:

“I didn’t check my watch once in the five hours of David Herskovits’s bold, astringent revival… faithful to O’Neill’s text while relentlessly questioning it… The surprising result is both Kabuki soap opera and vivid clarity: an interpretation of this play that feels alive right now.”

– Laura Collins-Hughes, NEW YORK TIMES

“Wong’s portrayal of the Mannon daughter is sublime… Her presence is reserved yet magnetic, like a spider sitting at the center of an intricate web… Wong carries the play through the evolution of Lavinia, which is a noticeable achievement.”

– Ran Xia, THEATRE IS EASY

“Wong kept me mesmerized, and the more glimpses of Ginny’s conflicts that she carefully chose to reveal, the more I appreciated the intelligence of Diamond’s text and the opportunities that text provides for talented actors. (Read full review).”

– Fabiana Cabral, MY ENTERTAINMENT WORLD

“The Huntington cast is just superb… Delivering… multifaceted performances are Eunice Wong as Ginny Yang, a Chinese–Japanese–American professor of psychology at Harvard who studies race and identity among Asian–American women but has some thorny identity and control issues of her own… (Read full review).”

– Don Aucoin, THE BOSTON GLOBE

“Wong stands out as best encapsulating the seesaw uncertainty between power and powerlessness with Yang, a sexually proficient overachiever who helps others question their racial baggage partly so she won’t have to examine her own scars. In one devastating scene with White, she gains the upper hand by reverting to an inherently powerless stereotype of an Asian woman. It is a side of Yang we instantly believe was always there because Wong has created so many nuanced layers in her character.”

– Craig Idlebrook, NEW ENGLAND THEATRE GEEK

“Eunice Wong plows into the character of Jennifer Marcus with the force of a supernova. Her brave, thoughtful performance could carry a one–woman show.”

– Ann Limpert, THE WASHINGTONIAN

“…the performances are among the most accomplished of the year… three in particular are sensational [including] Eunice Wong as Jennifer, the robot–builder… Wong is able to balance so sensitively the arrogant and desperate facets of Jennifer’s nature… And an audience comes clearly to understand how her obsessive need for superficial order is the mask for an explosive inner turmoil.”

– Peter Marks, WASHINGTON POST

“…Eunice Wong, who’s the formidable center of an admirably solid ensemble… She’s more action–comic character than believable young adult, and yet [playwright Rolin] Jones’ spiky dialogue and Wong’s vital, vulnerable performance somehow conspire to make audiences identify with her instantly.”

– Trey Graham, WASHINGTON CITY PAPER

“A dissonant symphony of tics and repeated actions, Miss Wong is cheerily arrogant and utterly convincing as the hermetically sealed Jennifer, but she also reveals the raw torment of a young woman suffering under warring compulsions.”

– Jayne Blanchard, WASHINGTON TIMES

“Studio Theatre’s cast is unassailable… But it’s Wong’s show, and she navigates her complex character’s many talents, flaws and mood swings with ease. Her breakdown is riveting.”

– Missy Frederick, DCist

“But the weight of the show ultimately rests on Wong’s slender but very capable shoulders…  and Wong delightfully succeeds.”

– Michael Toscano, THEATERMANIA

“Jenny Chow is an android, played with touching, subtle impassivity by Eunice Wong in the evening’s best performance.”

– Michael Feingold, THE VILLAGE VOICE

“Only when our neurotic protagonist unveils her greatest creation – a flying robot doppelganger who goes by the name Jenny Chow (Eunice Wong) – does the action…come alive… Wong is charming and radiant as the robot.”

– David Cote, TIME OUT NEW YORK

“Jenny, as played by Eunice Wong, develops [humanity] only gradually. When first she appears… all you can see is her hand jutting out from a shipping box and making some rudimentary gestures. But before long she’s completely assembled and resembling a young woman; her voice still has an unmistakably halting, electronic ring, and her movements still look mechanical, but as she learns to perform basic tasks and simple dance steps, her body and face limber up to reveal a minute if real sense of change and growth you never expected to see.”

– Matthew Murray, TALKIN’ BROADWAY

“But what particularly struck me…is the strength of the acting…Wong in particular must depict a run of emotional changes over a short time, particularly as it involves a great tragedy. Her ability to quickly capture the emotion her character feels is truly astounding. It’s one of the finest performances I’ve seen on stage.”

– Patrick Meighan, THE TELEGRAPH, NH

“But Faust in Love’s triumph belongs to Eunice Wong, who makes a soaring transformation (as Gretchen) from a girl’s loving purity into a destroyed woman’s wretchedness and ultimate redemption. Her summoning of strength powers the final scene’s conflict of great forces, turning night into day.”

– Tom Sellar, THE VILLAGE VOICE

“As Gretchen, Eunice Wong proves to be a mesmerizing and sympathetic spitfire, equally comfortable with the character’s naive side and her later, more carnal nature.”

– Andy Propst, AMERICAN THEATRE WEB

“Eunice Wong is a fierce, angry, and moving Antigone, portraying the title character both as a fragile, scared child, and as a raging fury who will challenge everyone who crosses her path.”

– Warren Hoffman, TALKIN’ BROADWAY

 “Eunice Wong portrayed Sophocles’ strong, law–breaking, loyal–to–death heroine with the perfect mix of passion, rigidity, fury, fear and delicacy.”

– Dorothy Tso, SHOW BUSINESS WEEKLY

 “Wong’s performance would be reason enough to buy a ticket. She’s wonderful, and the absolute light of the stage whenever she appears. She possesses charm and character in abundance, and appears to be the most gifted comic in the company. The scenes with her at the forefront are the most funny and enjoyable – she never lets you down for a moment.”

– Matthew Murray, TALKINBROADWAY.COM

“…Eunice Wong is alluringly coquettish…”

– Wilborn Hampton, THE NEW YORK TIMES

“This blistering revival shines an interrogator's light into the gap between justice and the law, asking us if we're brave enough to live in that protean space… Like bookish tomb raiders discovering a hidden room, [the three actors] immediately home in on the treasure trove of documents and photographs splayed on the central island of pushed-together metal desks… they portray everyone involved in the trial, occasionally swapping roles with seamless fluidity. It's a testament to… the uniformly strong performances of the cast that it is always crystal-clear who is speaking, and about what… With searing moral clarity as powerful as it must have been in 1971, The Trial of the Catonsville Nine challenges us to reassess our responsibility as citizens. (Read full review).”

– Zachary Stewart, THEATERMANIA

“Wong, speaking as Daniel Berrigan, begins weeping at one point late in the play while speaking these words to the court: ‘We have chosen to say with the gift of our liberty, if necessary our lives: the violence stops here, the death stops here, the suppression of truth stops here, the war stops here. The times are inexpressibly evil, and yet — and yet — the times are inexhaustibly good.’ I started crying too. And I am sure I was not the only one. I’ve always thought of my uncle… as a reserved and self-contained man. He did not weep in public, in my experience. But there he was — vividly resurrected with a full depth of emotion — in Wong’s portrayal, and I felt reunited with him in that moment. It was an incredible gift.”

– Frida Berrigan, WAGING NON-VIOLENCE

“…it is still moving to hear Berrigan’s words ring down the years, as delivered here with earth-shaking passion by Eunice Wong…”

– Robert Weinert-Kendt, AMERICA

“What soars is Wong’s performing Sonnet 118... While Bogosian’s Bitter Sauce shocked with its use of obscenities…, it was Wong’s performance of the sonnet that was most startling and memorable.”

– James Yeara, METROLAND