“the actress Anna-Maria Nabirye projects superbly; she has a full, low timbre and an earthy directness that make her convincing as an excitable London teenager or as a great-grandmother on a remote Borders farmstead.”
“And Anna-Maria Nabirye splendidly uncorks the second half with a devastating
monologue about the way black actors are typecast and allocated cameos in which to show off their singing voices. She makes the point powerfully – then
sings. Everything, she tells us, is ‘political’”
“It hits a note when exploring the extent to which state-funded culture can genuinely critique those handling its purse strings and whether or not it’s possible for theatre to engender change when the same, left-inclined (and predominantly white) audiences are the ones coming to see shows. Anna-Maria Nabirye wryly parodies this with lasting effect at the start of the second act.”
“Nabirye is a powerhouse as the disillusioned and socially aware Juliette. She intervenes with her heavy critique, highlighting the white supremacy tendencies that surround the time period and the immediate threats to her person.”
“Anna-Maria Nabirye (as the successful, defiant Juliette Demba) is the only character with a “visible” race and gender. She cracks up some of the audience uncomfortably ”
“The real meat to the story comes in the second part as ‘mad scientist’ Kalu (Anna-Maria Nabirye delivering a commanding performance) ascends to a higher plain of existence and threatens to destroy the reality around her as”
“Thrilling: Anna-Maria Nabirye as Macduff”
“The supporting cast’s performances are solid too, with Anna-Maria Nabirye’s performance as Macduff standing out from the rest: her performance of ‘manly’ rage, grief, and revenge are nuanced and compelling.”
“Anna-Maria Nabirye’s emotive performance as Macduff brings new weight to his anguish over his lost wife and children, heightening the production’s emphasis on domesticity under threat.”
“... most noticeably with Anna-Maria Nabirye’s emotionally resonant Macduff...”
“while Anna-Maria Nabirye, Hannah Hutch and Beatrice Scirocchi as the otherworldly witches overseeing – often literally as they perch on stalks – Macbeth’s fall is fantastically eerie with their spooky hymnal prophesies.”
“wonderfully weird witches (the excellent Anna-Maria Nabirye,...- one moving as though through treacle, another a hyperactive sprite, a third imposing and watchful, yet together harmonising sharply on key lines. ”
“the show is opened with huge aplomb by Anna-Maria Nabirye’s Andraste.”
“Anna-Maria Nabirye is superb as a woman caught between her heritage and her future..”
“Anna Maria Nabirye gives a strong performance as Anne Marie, a diasporan running her own NGO – though hemmed in by the worthiness of her role.”
“the still-damaged stage becomes a visual representation of the sore at the heart of our glitzy digital age, of the growing spread of Stef’s trauma into her London life, and of the implacable and violent conflicts that divide the Congolese characters (these particularly affect the women – especially Anna-Maria Nabirye’s affecting Anne-Marie). ”
“Iain Robertson and Anna-Maria Nabirye shape-shift tirelessly from servile minions to the wailing impalees that Vlad - like us - ate his lunch beside. Definitely one to chew over, afterwards!”
“...the opening words of the play, from the character of Congolese exile Anne-Marie (Anna-Maria Nabirye, excellent),”
“Anna Maria Nabirye particularly impresses as Buckingham, suitably oleaginous when she needs to be but ultimately redeemed (and at the same time doomed) when she refuses to match Richard in villainy”
“Anna-Maria Nabirye’s measured and intriguing performance as Ritah brings a depth to her character that resonates beneath the subtle writing”
“Anna-Maria Nabirye and Alim Jayda play the Fairy and Puck with a Peter Pan-like sense of being eternal children rather than overlooking human folly with a knowing, ironic gaze. Nabirye’s wonderfully silly Fairy is as buoyant as a puppy”
“Gloria Onitiri and Anna-Maria Nabirye performances were outstanding as the two sisters who had grown apart with their relationship breaking down after a year of disconnection.”
“Anna-Maria Nabirye does very well with the emotional complexity and uncertainty of down-hearted Grace. ”
“...standout performances from Anna-Maria Nabirye as Meeka ”
“Anna-Maria Nabirye’s performance as the bereaved, bitter, brittle, far-seeing mother is outstanding. Talented and versatile, Nabirye also shines in Fiesco and Three Sisters, the other two plays in The Faction’s current rep season, in two very different roles. Next stop Cleopatra?”
“Performances are excellent across the board, but particularly worthy of mention are...Anna-Maria Nabirye who is beautifully emotionless and mercenary as the tragic hero’s side-kick and spy.”
“Anna-Maria Nabirye as Mother, a woman who is marrying off her only living son while still grieving the deaths of her husband and older son, is a shining standout. Her role is the most demanding, and her passionate performance is one of achingly raw pathos and emotion. From the opening scene until the tragic end, her character’s grief and constant reflections about a world torn apart by violence provide a gripping and emotional narrative.”
“Anna-Maria Nabirye, gender-blind cast as the amoral Hassan, the assassin from Tunis who works for both Gianettino and Fiesco, gives a startlingly vivid performance.”
“...a mix of flirtation of a sexual and murderous nature. Anna-Maria Nabirye plays a good Josephine Baker, lithe and sexy. ”