Dear Edwina (Off-Broadway)

Katie Whetsell scores as the dancing kid in leg warmers, with a winning turn as shy Lola from Peru...

Steven Suskin, Variety

The show is bright, cheery, and fast-paced, and the cast shines under Timothy A. McDonald's direction, particularly Katie Whetsell as aspiring ballerina Kelli and Doug Thompson as good-natured lug Billy. Whetsell perfectly blends the sincerity necessary to play a child with the comedic timing required to keep adults from falling into a diabetic coma.

Mark Peikert, Backstage Magazine

Standout numbers include ''Hola, Lola,'' a Latin-flavored song, featuring Kelli (Katie Whetsell) as the embodiment of shyness…"Fork, Knife, Spoon,'' a table-setting tune that Kelli and the rest of the cast sing at ever-increasing speed, can only be described as a tour de force (or forks).

Laurel Graeber, The New York Times

Once Upon a Mattress

Katie Whetsell rises to the challenge. Even when performing pratfalls or pulling fish out of her dress after taking a swim in the palace moat, her Princess Winifred blends bravado and vulnerability. The wistfulness with which she sings The Swamps of Home only enhances its comedy.

Margaret Quamme, Columbus Dispatch

The Secret Garden (Utah Shakespeare Festival)

Katie Whetsell is spirited as Martha, the British housemaid, and her songs, "A Fine White Horse" and "Hold On," are show highlights.

Ellen Fagg, The Salt Lake Tribune

And Katie Whetsell, makes a major impression in a minor role.

Anthony De Valle, Las Vegas Review-Journal

Other standouts are Mark Light-Orr, Brian Vaughn (Dr. Neville Craven), Joyce Cohen and Katie Whetsell (Martha).

Erica Hansen, The Deseret News

Private Lives (Utah Shakespeare Festival)

I didn't realize how much the deserted spouses added to the show until they weren't there for the start of the second half. While Johnson and Burroughs did a great job in their roles as the volatile lovers, the addition of the abandoned spouses added more to the comic edge that was needed to keep the story moving along. Whetsell particularly managed to get some laughs as she carried out more than one crying scene at which the audience can't help but chuckle.

Rachel Glidden, The Spectrum

Whetsell, as the sweet young innocent Sibyl, makes comedic hay out of her character's frequent, gasping tears...

Ellen Fagg, The Salt Lake Tribune

Johnson's a sometimes stunning Amanda. She fills the stage with the command of a star and projects dominance as easily as vulnerability. Brusaco's a likable stuffed shirt, and Whetsell -- so down to earth in the festival's "The Secret Garden" -- is loony to the core.

Anthony De Valle, Las Vegas Review-Journal

For the first few minutes of this production of Noel Coward's 1930 comedy, "Private Lives," I listened to actress Katie Whetsell's snooty accent with dismay. She seemed so artificial and pompous that I was afraid that I was about to see a play that was, well, unbearably British... It was only a few minutes, however, before her character's studied coolness began to crumble under the weight of her insecurities. That's when it became clear that one of the themes of the play is that nice manners can be an attempt to cover up the savage emotions underneath. For the next two-and-a-half hours, I was solidly along for the ride... Other standout aspects of this production are Whetsell's hysterical, gasping sobs and the sumptuous set design of Amanda's apartment.

Kelly Ashkettle,