For The Realish Housewives: A Parody by Kate James and Tim Sniffen, directed by Eric Hoff, produced by Second City Theatricals

"All five women dive deep into their shallow characters, but Pearlman and Gavino earn the highest scores.  With the most grounded and dynamic performance, Pearlman exudes confidence as Brooke... comedic powerhouse."  -Gary Zeidner, Boulder Weekly

"Brooke (Lindsey Pearlman) is a hard-nosed businesswoman from Kannapolis and garnered the most laughs from me." - Dawn Thornton, ArtsyCharlotte North Carolina

"Lindsey Pearlman as the combustible Brooke...is a magnetic diva." -Quincy Snowdon, Aurora Sentinel

"My favorite was Lindsey Pearlman as Brooke, appropriately clad in a sleek red power suit, her sharpness and look reminded me of Kristen Ritter." -Chris Arneson, BroadwayWorld.com

"Improv can be hit or miss but this cast drew some major laughs, especially from standouts Katy Carolina Collins and Lindsey Pearlman.  These two, even during the scripted parts of the play, were terrific.". -DailyActor.com

For The Mousetrap by Agatha Christie, directed by Jonathan Berry, produced by Northlight Theatre

“...Lindsey Pearlman, who nearly steals the show as a mysterious lesbian, and is a shoo-in to play Bloomsbury's fabled Vita Sackville-West” —Hedy Weiss, Chicago Sun-Times

“...there are some fun performances... from Pearlman, playing a racy young woman.” —Chris Jones, Chicago Tribune

“But as the sapphic, truly intriguing Miss Casewell, Lindsey Pearlman almost steals the show.  She is compelling and unique, a true force...” —Brian Kirst, Sheridan Road Magazine

“Lindsey Pearlman strides her pantsuited way across the stage with delightful verve as Miss Casewell”  —Kris Vire, Time Out Chicago.

"Joe Dempsey, Laura T. Fisher, and Lindsey Pearlman, in particular, need to win something for their sly performances..."  —Tony Adler, Chicago Reader

"....Lindsey Pearlman as Miss Casewell, pitch-perfect in capturing the English eccentricities and comic timing." —James Murray, Showbiz Chicago

For Love, Loss, and What I Wore by Nora Ephron and Delia Ephron, directed by Rachel Lambert, produced by First Folio Theatre

"Although all the cast are strong, Lindsey Pearlman and Danielle Davis stand out among fine company.  Tall, dark, and gorgeous, Pearlman has more than enough swagger when needed and turns on just the right amount of vulnerability so that the audience misses those smaller moments before they even realize they've been touched by them". —Christine Malcom, EDGE

"Pearlman blazes with a fervor throughout, whether she's discussing the sheer absurdity of jumpsuits or that equally baffling moment in time when paper dresses were a thing." —Catey Sullivan, Chicago Tribune

"Lindsey Pearlman showed a subtle comedic talent that makes me anxious to see more of her comedy in future plays". —Margaret Eva, chicagocritic.com

"Finally, I admired Lindsey Pearlman’s portrayals greatly – her facial expressions and comic timing were superior and pulled all the stories together."—Robin Kuss, Splash Magazine

For Crimes of the Heart by Beth Henley, directed by Brad Akin, produced by Step Up Productions

"One of my favorite funny moments comes courtesy of Pearlman as poppy-eyed cousin Chick, as she struggles with a pair of much-too-small pantyhose." — Phil Potempa, Northwest Indiana Time

"Pearlman gets the biggest laughs with Chick’s ironically vulgar arrogance..." — Jacob Davis, chicagocritic.com

"Lindsey Pearlman perfectly captures the bless-her-heart bitchiness of this familiar Southern type".— Kris Vire, Time Out Chicago

For Merge by Spenser Davis, directed by Andrew Hobgood , produced by The New Colony

""Pearlman steals every single scene she’s in as the droll, sarcastic Patti..." .  -Alex Huntsberger, Time Out

"...once the comedic timing of Lindsey Pearlman and Omer Abbas Salem find their way on stage, the last hour flies by leaving you wanting more." -Tonika Todorova, PerformInk

"I especially enjoyed Lindsey Pearlman's cool as a cucumber Patti York..." -Eric Karas, Windy City Times

"Special mention should be made here of Lindsey Pearlman who stole every scene she appeared in with her terrific deadpan delivery and effortless gum-chewing physical comedy." -Debra Davy, Splash Magazine

For Never the Bridesmaid by Bill Jepsen, directed by Richard Shavzin, produced by Polarity Ensemble Theatre

“Lindsey Pearlman is particularly delightful, her choices, perennially out of the ordinary and honest.” —Sarah Terez Rosenblum, Centerstage Chicago

“Pearlman as the pouting Maria stands out, especially when she’s rolling her eyes at all of the brainy intellectualisms spouted by Lake as Anthony.” —Scott Morgan, Windy City Times

“Pearlman, as a tipsy Maria, pulls off one of the funniest and true-to-form scenes on stage… she captures the wacky, bleary-eyed effervescence of a happy drunk with side-splitting accuracy." —Kathleen Tobin, The Beverly Review.

“Pearlman gives a stellar performance as the quirky, nuanced Maria. Not only does she embrace the humor Jepsen clearly intends for the character, she also lends an unexpected softness and earnestness to the role. This duality is something I don’t often see well-executed on stage.”  —Kristen Mitchell, Cheeky Chicago.

“Maria and Anthony were an absolute pleasure to watch on stage. Maria’s animated character enabled the viewer to connect immediately with her. We believably watched her help her distraught friend through a break up. We also observed her slightly drunken state during an interaction with her parents and her brother. She was spot-on with her perfectly written lines. Her ease and genuine affect in these situations made her real.” —Pamela Powell, Real Honest Reviews

For The Water Engine, by David Mamet, directed by Brian Golden, produced by Theatre Seven of Chicago

“But the evening’s standout is Lindsey Pearlman; her timing and flexibility is a delight.” —Lisa Buscani, NewCity

“…Lindsey Pearlman stands out as she morphs from nasal secretary to gruff drugstore owner to coy reporter’s assistant.” —Sarah Terez Rosenbaum, Centerstage Chicago

“Pearlman delightfully segues from refined actress to ranging street-corner orator to gruff storekeeper.” —Leah A. Zeldes, Chicago Theater Beat

For The Eight: Reindeer Monologues, by Jeff Goode, directed by Greg Werstler, produced by Stage Left Theatre

“These are heavy topics, and they are dealt with here appropriately, thanks largely in part to the sultry and commanding Pearlman, whose theatrical resumé includes Sex Signals…”—Keith Ecker, Chicago Theater Beat

” …Lindsey Pearlman’s coyly potent Vixen, all the performers, and the piece’s multiple directors give the show definition…”—Brian Kirst, Sheridan Road Magazine