"But as the miserable Lucy, who dips freely into mom's medicines, Ms Bacon cuts loose to delightful effect...she gets high on her character's bewildered resentment and on Mr Shepard's language, and so by proxy do we...(Ms Bacon and Ms Smith) are hitting lines to each other with the hyped-up exhilarated precision of olympic ping pong competitors...they are having the time of their lives riffing like this...you feel you've come back to Shepard country, where there's no place stranger-or more familiar-than home." From The New York Times review of Sam Shepard's "Heartless"

"Stage Kiss has an impeccable ace in the hole, though: Jenny Bacon, who plays SHE with the charismatic vulnerability that made her 1990's performances around Chicago indelible. From her opening audition scene... Bacon's SHE is thoroughly enchanting" Chicago Reader review of Sarah Ruhl's "Stage Kiss"
"Jenny Bacon is delicious as SHE...her body language is splendid-awkward, appealing and winsome." Chicago Critic review of "Stage Kiss"
"A comically expert and physical performance from Jenny Bacon" Windy City Times review of "Stage Kiss"

"Jenny Bacon is dazzling as Phedre. Through her performance, which is like a series of whip cracks, ancient Greek mythology filtered through French classicism becomes the stuff of urgent contemporary drama. Bacon...whose wide eyes bespeak both intelligence and recklessness. Bacon is mesmerizing." From the Chicago Tribune review of "Phedre"

"Jenny Bacon plays Sara with an affecting mix of peasant grit and dreamy soulfulness. Bacon is an actress of commanding power and depth, and she flickers with sharp life as every conflicting impulse in Sara courses its way through her." From The Wall Street Journal review of Eugene O'Neill's "A Touch of the Poet"

"Mary Stuart, played by Jenny Bacon, a breathtakingly gifted actress working at the very top of her game" From the Chicago Sun Times review of Racine's "Mary Stuart"

"Jenny Bacon plays the sensual, psychologically tortured Mary. Proud, beautiful, trapped, Ms Bacon commands the stage." From the Wall Street Journal review of "Mary Stuart"

"in her tough portrayal that is finely limned with pain and subdued seething, Jenny Bacon deepens the plays intriguing Brechtian feel and looks like she could have been Jenny in The Threepenny Opera" From the Boston Globe review of "God of Vengeance"

"the commandingly centered Jenny Bacon" From the New York Times review of Lisa Kron's "In the Wake"

"Plimpton and Bacon are wondrous to watch, alone and together...the tall, red haired Bacon is physically stunning and elicits the most sympathy as the confused, romantic Thea. Thea's sexuality even tempts the polymorphous Hedda at one point." From the Hedda Gabler

"Nora's journey from giddy childishness to mounting anxiety is portrayed believably every step of the way. When she finally leaves her husband, Torvald, after realizing their marriage has been built on deceit, Bacon imbues the moment with not only bravery but a sad emptiness as well." From "A Doll's House"

"Ms Bacon, whose comic timing is as exact as it is stealthy, is especially adept." From the New York Times review of "Omnium Gatherum"