Romeo and Juliet 

(at Chicago Shakespeare Theater)

“In [Joy Farmer-Clary’s] thrilling discovery of love, in her vulnerability and in her radiant expression of newfound bliss, she has won us over utterly . . . What makes Farmer-Clary’s girlish charm so infectious is her consummate mastery of Shakespeare’s poetry. This Juliet recites nothing, exudes all . . . The bubbly transport Farmer-Clary brings to the balcony scene, this moment of confession and vow, is an unalloyed delight.” Classical Voice America Network

“Joy Farmer-Clary lends her angelic voice and lyrical knowledge of the text to Juliet, playing her as a witty, sharp-if-not-yet-wise young woman.” Showbiz Chicago

“Joy Farmer-Clary as a richly transparent Juliet, instantly recalling a young Katharine Hepburn . . . her little-girl voice and spontaneous, teenage reactions provide conviction enough.  Farmer-Clary delivers a Juliet who seems always on the edge of an unseen knife.” Steadstyle Chicago

“Joy Farmer-Clary's portrayal of Juliet has both the sweet innocence of a young girl who doesn’t know much about the world and the ardor of a young girl who has discovered her first love.  In spite of her youth, she displays a mature determination and strength in her interactions with the adults trying to control her life, and her intense kiss with Romeo at the ball shows a passion beyond her years.” Examiner Chicago

“The story revolves around Juliet, daughter of Capulet played byJoy Farmer-Clary, who begins as a 14 year old giggly girl and as the story unfolds, becomes a woman. Her love for Romeo . . . is quite intense . . . “ Around the Town Chicago


Measure for Measure

“It's the charismatic Joy Farmer-Clary who gives the show its heart. Farmer-Clary portrays Isabella with a mixture of dignity, warmth and empathy that makes you want to root for her.”  Talkin’ Broadway: Philadelphia

“In any case, this Measure succeeds on strong acting alone. When we first meet Isabella, Joy Farmer-Clary’s stone expression and stolid movements embody the detail of her strict convent. But as the consequences of her actions and attitudes grind down her will, she unleashes a torrent of rage and anguish that grounds the script’s emotional core.” Broad Street Review


Two Gentlemen of Verona

“Joy Farmer-Clary, as the discarded Julia, has the girlish giddy sensibility of a teen in the first blush of love” The North County Times

“Joy Farmer-Clary finds an irresistible adolescent in Julia, one who hyperventilates fetchingly at the thought of her Proteus.”

“"Julia, adorably adolescent Joy Farmer-Clary, who’s also memorable in Ophelia’s mad scene . . . Her Julia starts out besotted by new amour, and ends up, dressed as a boy, learning a good deal about life, her lover and love itself." PATTÉ PRODUCTIONS



“Polonius’ daughter Ophelia (Joy Farmer-Clary), finally driven round the twist by her dad’s death (among other reasons) shows unexpected grit in her flowery songful hebephrenic mad scene. Farmer-Clary’s Ophelia becomes bold and unruly in her dementia, her "Goodnight, sweet ladies" downright bitter and defiant.”


A Christmas Carol

"But [Jared Joplin's] scenes with Belle (Joy Farmer-Clary) are among themes revealing and most touching in the show."  The Cincinnati Enquirer 2014

"One of the Show's most affecting scenes is between Scrooge, played as a young man by Avery Clark, and Belle (Joy Farmer-Clary), the woman who was the love of his life.  There is an obvious and enormous affection between them." The Cincinnati Enquirer 2013

“New to the cast and turning in terrific performances are Craig Wesley Divino as Scrooge’s knowing . . . nephew Fred and Joy Farmer-Clary as young Scrooge’s lost love Belle.” The Cincinnati Enquirer 2011



“Farmer-Clary has the showier role.  Una is deeply damaged by the encounter and everything that has happened since . . . Farmer-Clary lets us know that misery is Una’s life’s blood." The Cincinnati Enquirer

“Farmer-Clary and Ottavino, both new to the Playhouse, are perfectly cast, sensitively directed and clearly equal to the intellectual and emotional demands of these complicated roles.  Una must underpin slutty behavior that she blames on her too early seduction with an air of lingering innocence and the certainty that she did some of the original seducing . . . Both succeeded brilliantly.” City Beat

“ . . . There are so many dizzying changes that we leave the theater stunned, and everyone I have spoken to has a different idea about what transpired there and in the characters’ past, reminiscent of “Doubt.”  Which is only a testament to how strong and affecting the performances are by Joy Farmer-Clary as Una and John Ottavino as Ray/Peter and the taut direction of Michael Even Haney.” Journal News

“The acting by Joy Farmer-Clary (Una) and John Ottavino (Ray) was excellent, especially for such an intimidating piece.” Culture Popped


Sea of Tranquility

Among the younger artists, Joy Farmer-Clary, in the pivotal role of Astarte, is excellent.” The Theatre Times

“One wayward soul is a young runaway who'd been sleeping in L.A.'s Griffith Park after abandoning the half-crazy drifter who helped her earn pocket money. Her name's Astarte and when actor Joy Farmer-Clary gets cooking, the speech becomes a corker about conscience battling denial and escapism.” The North County Times

“There are some finely crafted performances: Joy Farmer-Clary as Astarte, one of the patients, Jeffrey Kuhn as Randy, the manic brother-in-law of the therapist, and Carlos Acuna as Gilbert, a dangerous and incarcerated felon under treatment, are the standouts in a sharply acted cast.” The Sun Runner


Much Ado About Nothing

“Joy Farmer-Clary is lovely as the naïve ingénue, Hero.” San Diego Theatrical Scene


Romeo and Juliet

(at Austin Shakespeare Festival)

“The boys are brash, the swordplay is solid, and Joy Farmer-Clary is a Juliet who looks like a Renaissance lady and brings poise and focus to the role.” The Austin Chronicle