"James Rich and Alexandra Blatt as agents Tom Taylor and Sophie Larson share an easy chemistry and make for an enjoyable Mulder and Scully-style partnership which will hopefully develop further in future episodes. It's nice to see agents of Homeland Security not immediately jumping to the conclusion of terrorism and actually asking questions and wanting to know more about the situation. This is often not the way that the US security services are portrayed and the characters feel fresh because of it." - Dave Probert
"At about a half hour in length, Pioneer only hints at how Taylor will approach this case. However, we get a good sense of him as a character thanks to two very sharply written scenes. In one, we happily learn Taylor is not a by-the-book kind of agent, while his subordinate Sophie Larson will probably be the Scully to his Mulder.
Frankly, webisodes do have a reputation for sterling performances and if Pioneer makes it to the promised land, it will probably have to be recast with several name actors attached. However, the DHS cast is surprisingly strong (a few scientists though, not so much). James Rich does the haggard ex-hotshot agent thing quite well, while Alexandra Blatt counterbalances him rather effectively as the coolly efficient Larson." - Joe Bendel
"And the performances by (especially) Alexandra Blatt, Seth Bockley, Mike McNamara, Sara Minton and Jim Schutter are all smart, adroitly scaled and, in their deftly understated, back-of-the-bar way, haunting." - Chris Jones
Tennessee Speaks in Tongues
"As paranoid hideouts living in abandoned and soon-to-be demolished buildings, Nick Leininger’s Joe and Alexandra Blatt’s Margo inject a bolt of drama to wake up audiences. Sure, they have to pretend to eat cat food ( it’s their main diet of what’s left in the building ) , but Leininger and Blatt grip their roles with their teeth and don’t let go." - Scott C. Morgan
Chicago Sun Times
"In 1963 a fresh-faced 24-year-old actress who was pegged as "the next Grace Kelly" did something so startling that all Hollywood, and the world, took notice. She turned her back on a promising career and joined the cloistered order of nuns in the Benedictine Regina Laudis Monastery in Bethlehem, Conn... … Alexandra Blatt, who bears an uncanny resemblance to Gwyneth Paltrow, is perfectly cast as the fresh-faced ingenue. With a beguiling calm, she maneuvers Hart through each decision and dispute with a grace that foreshadows the success of her future life." - Mary Houlihan
"The actress Alexandra Blatt, who looks every inch the Hollywood ingenue, deals with that thorny issue by underplaying Hart and emphasizing the quiet intelligence that many said made her stand apart from other actresses." -Chris Jones
"Alexandra Blatt is a standout as Dolores, very much a composed beauty of the early sixties in her poofy coral skirt and fitted turquoise sweater." -Nina Metz
"Blatt - a competent performer resembling a young Blythe Danner…" -Kim Wilson
Windy City Times
Mark Vallarta's characterization for Wallis presents us with a personality complex enough to encompass the changes required by the text as he spars with Alexandra Blatt, who looks amazingly like Hart (though more like Ingrid Bergman). Their arguments are what render satisfactory our final picture of a talent utilized securely and contentedly in the service of its owner's convictions. -Mary Shen Barnidge
"-beautiful Alexandra Blatt's solid depiction of Dolores Hart." -Lawrence Bommer
Most theaters say they encourage new work by "emerging authors," but few do more than pay token attention, usually to a favored (and well-connected) few. Who can blame them? Most plays by inexperienced writers are awkward, eccentric, and tedious. Still, I thank the gods of theater that the Rhinoceros Theater Festival opens its stages to untried authors, because every once in a while a first-time playwright like Idris Goodwin comes along. From the first words of Braising, he shows he knows what he's doing.
The premise is deceptively simple: two romantically entwined would-be bank robbers must find a new way to live when the woman is crippled by a stray bullet during a thwarted robbery. This verbally rich 90-minute play shows their relationship crumbling as she's consumed by bitterness and he sinks into denial, then takes desperate measures. Though Braising is filled with crisp dialogue, Goodwin never seems dazzled by his own wit. Rather he focuses on creating multifaceted, constantly surprising characters. Jonathan Putman and Alexandra Blatt seemed to be having as much fun playing this misbegotten duo as we had watching them.