Praise for Cabaret

"The whole cast is strong with impressive, nuanced performances all around, but it’s often hard to pay attention to them when Jay Eddy is on stage as Sally Bowles. Her performance is magnetic, feral and heartbreaking...Eddy’s performance feels fresh and unique, all wide eyes and exposed nerve. She’s Kate McKinnon on a cocaine bender.  She’s a revelation."

Noah Golden for OnStage

"Jay Eddy as Sally Bowles brings down the house, twice, with 'Maybe This Time' and 'Life is a Cabaret.'" 

E.A. McMullen for The New Haven Independent

"The most volatile among them is Jay Eddy as the Sally Bowles. Eddy...makes Sally a wild-eyed, unhinged cipher of a cabaret singer. Her croons become yowls, and when she’s not singing she’s blaring through a trombone."

Christopher Arnott for The Hartford Courant

Praise for ALL THE BOYS

4.3 out of 5 - TOP ALBUM

“The first thing that strikes one upon listening to Jillie Mae Eddy’s latest record ALL THE BOYS is the way she is able to manipulate her voice into different styles. She slips from country twang to sultry and seductive whenever the mood seems to strike her or rather perhaps when the song’s theme calls for it.”

“I believe listeners, who enjoy well-written songs full of empathy and hope in hard times will find happiness in ALL THE BOYS as well.”

Jamie Robash for No More Division

Praise for The Boys Are Angry

“The whimsical way in which Eddy plays [The Girl] and the interaction she has with the boys is the highlight of this show.”

The Boys Are Angry is a great example of what a Fringe Show is: daring, full of ideas, great talent, and the venue to make the magic happen.”

Nelson Diaz-Marcano for Manhattan with a Twist

“From the moment an invective-fueled, misogynistic spew presumably tapped out on a blogger’s keyboard is posted to the audience in the form of a frontal, ferociously lit soliloquy, The Boys Are Angry begins its fearless transition from social network screed into a morality play mobilized by the conventions of live theater.”

“Under Sam Plattus’ direction, the theater provides an intimately affecting laboratory for wry epidemiological research.”

“Quinn’s Girl...just might be hearth-and-home writ large”

Deborah Natsios for Cryptome

“Eddy’s ear for the puerile humor of straight twenty-something guys feels spot-on, and Johnson and Houran expertly capture the complex nuances of their co-dependent relationship.”

The Boys Are Angry is an intelligent exploration of young white masculinity, all the more arresting having been written by a woman.”

Dan Dinero for Theatre is Easy

Praise for Holler, an Appalachian Tragedy

“Eddy plays Little Lady almost as a vampire, and the old-school kind: seductive, frightening, and probably crazy…Eddy has undeniable stage presence and a startlingly elastic voice, able to coo and screech, howl and sing.”

“Following in the vein of A Thousand Acres or RanHoller makes a fleet and strong argument for Shakespeare’s enduring relevance…Holler compels us to pay attention—to the past and the present.”

Brian Slattery for The New Haven Independent

“It’s a joy to listen to…beautifully arranged and performed by talented players. The string work is diverse and works together well to set a scaffold over which vocals and less prominent instruments fill out a beautiful tapestry of sound…You’re in for a delight.”

Lisa Regula Meyer for Ear to the Ground Music

Praise for The Girl from Bare Cove

“The lyrics are some of the cleverest and best written I have heard in a long time…The music is deeply interesting…[Eddy’s] voice also has great range doing all the styles perfectly and hitting all the emotional notes just right, most notably in songs like, ‘You Don’t Know the Night.’”

Gail Rybak for Marc Gunn’s Celtic Music Magazine

“The somewhat startlingly talented Jillie Mae Eddy”

“A powerful consequence of the human scale venue is the removal of the need for amplification…This is used perhaps most successfully when Eddy takes over the sonic volume of the space with her huge voice. Her all-too-real cries for help are as unsettling as they should be, not just because of Eddy’s personal history with sexual violence. When the other performers join her in the more uplifting moments…you cannot help but be carried along on the waves of their support. It’s a powerful reminder of the dynamic range possible with an ensemble of voices utterly unlike the vast majority of pre-packaged pop.”

Jeff Smith for Medium

Praise for Spamalot

“But the true ringer in this…show is the one female lead, Jillie Mae Eddy, who plays the Lady of the Lake…She is spectacular. A vision in shimmering blue with a voice that fills the auditorium (without amplification) and manages to make the one serious song in the play ‘Find Your Grail’ moving and memorable.”

Nan Lincoln for The Mount Desert Islander and The Ellsworth American

“Eddy brings a dynamic presence and a powerful voice to her portrayal of the Lady of the Lake; her combination of vocal range and comedic timing is a rare one.”

Allen Adams for The Maine Edge

Praise for RCSSD MA Music Theatre Showcase

“’Gorgeous’ is a wonderful number to show off a performer’s comic talents as well as providing some fun vocal gymnastics for the singer. Eddy plays the humor for all it is worth to great success.”

The Stage UK