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"a master class in physical acting"

"positively radiant"

"ever-delicious comic timing"

"superbly calibrated performance"



Good Theater, January 2023

"The cast proves to be a fine-tuned ensemble, all managing the Southern dialect with fluid skill. Kat Moraros makes the oldest sister, Lenny, a study in sadly missed opportunities, timid, repressed, and yet brimming with unfulfilled hopes, dreams, and desires."

"Timing is brisk; emotions turn on a dime, and there is ample compassion for the very damaged, yet touchingly vulnerable characters."
          - BroadwayWorld Maine, January 14, 2023

The sororal trinity at the heart of Good Theater’s production is pure gold. Moraros, Turner, and Irish, all formidable young actors in their own rights, do phenomenal work conjuring both individual women and the dynamic, irrepressible organism that is the Sisters Magrath." 

"As the stoic, responsible oldest, Moraros’ Lenny lets us see both the love that fuels her caretaking and her resentment for long doing most of that caretaking herself. Watch her face as she tries to hold in all her irritation or disappointment, then as she breaks down like a young wounded girl. Watch the faux-restraint and flicker of a bitter smile as she asks who’s eaten a tiny bite out of each of her birthday chocolates; later, watch her revert completely to childhood form as she screams at the culprit — Meg."

"Moraros, Turner, and Irish enact these sisterly complexities with wonderful rapport, great nuance, and supreme comic timing. They let us see the dual petulance and empathy that the intimacy of sisters entails — especially given the shared childhood trauma of their mother’s suicide. These actors make beautifully convincing work of the sisters’ shifting alliances, their polyphony as they shout over and past each other, and their quicksilver slips from irritation to rage to screeching hilarity, then back again."
         - Portland Phoenix, January 18, 2023
"Seeing the three exceptional actors... lighting up these rich roles is impressive. They bring a sense of sisterhood, albeit sometimes awkwardly and angrily expressed, through the exposition of each character’s sometimes harrowing journey to and through the two days in 1974 in which the play takes place."

"Moraros’ frustrated worrier Lenny, Turners’ emotionally quick-changing Meg, and Irish’s libidinous mess Babe all present riveting moments in the spotlight as well as in smaller exchanges full of laughs and tears."
          - Portland Press Herald, January 18, 2023

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Fenix Theatre Company, July 2022

"...the delightful Moraros... is a powerhouse of energy as the spirited Ariel. She’s a treat to watch as she flawlessly spews out her lines while flittering about with the unceasing energy of an overcaffeinated sprite."
          - Portland Press Herald, July 16, 2022

"The production has some physical comedy fun with magic: Ariel, an ebullient delight in the hands of Moraros, has men lunging after spectral voices..."
         - Portland Phoenix, July 13, 2022



Dramatic Repertory Company, April 2022

"Moraros gives a superbly calibrated performance as her professional cheer becomes confusion, irritation, offense, and a sense of warming discovery in the spinster sisters’ home.... There’s a remarkable tensile strength in both script and performances as the play pushes the limits of stylization, then draws back to the bare and the bone."
          - Portland Phoenix, April 6, 2022

"Cross and Moraros turn up the heat on Agatha and Emilie’s growing attraction while planning a new addition to the household."
         - Portland Press Herald, April 4, 2022



Mad Horse Theatre Company, February 2022

"...the Dormouse tells of the Jabberwock (a stellar turn by Moraros)..."
          - Portland Phoenix, February 16, 2022

          -Bangor Daily News, February 10, 2022

          -Portland Press Herald, February 10, 2022

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Fenix Theatre Company, December 2021

"As Olivia, Moraros initially conveys an immaculate haughtiness, but once Viola/Cesario enters the picture, Olivia proceeds with her own melting. Their initial meeting, too, is beautifully staged: as Turner’s feisty, sunny Viola speaks to Maria, thinking her the lady of the house, Olivia watches 'him,' her face softening by the second. A lovely charged moment catches Olivia’s libidinous glance at 'Cesario’s' hand lightly resting on the hilt of his sword. And in no time, Olivia is gushing, simpering, and giggling with shameless mellifluousness. "
         - Portland Phoenix, December 15, 2021

         - Portland Press Herald, December 10, 2021



Fenix Theatre Company, July 2021

"Kat Moraros, who knows her way around effectively projecting a Shakespearian role, is first rate as the put-upon Adriana. "
          - Portland Press Herald, July 18, 2021

"The whole cast is all-in on the absurdities, fleet and nimble and excited to draw us into the chaos. Moraros and Pryor are infectious in their hilarity as sisters, Moraros makes a rich comedic confection of Adriana’s annoyance..."
         - Portland Phoenix, July 14, 2021


Midsommer Flight, July-August 2019

"There are... some clever visually staged moments that complement the fantasy-infused action of the play; in particular, all the scenes with the nimble and totally engaging Moraros as Trinculo."
                 - Splash Magazine, July 23, 2019    

"Midsommer Flight’s 'The Tempest' puts a great emphasis on fully lived characters. The classic comedic trio in the play, Caliban (Richard J. Eisloeffel), Trinculo (Kat Moraros), and Stephano (Tom McGrath) showcase this throughout their various shenanigans."
                 -, July 29, 2019 

"...there are strong performances from Richard J. Eisloeffel as Caliban... and from Kat Moraros and Tom McGrath as Trinculo and Stephano, the drunken servants who join forces with Caliban to try to overthrow Prospero."

                  - The Chicago Reader, July 24, 2019

"Tom McGrath and Kat Moraros are the perfect injection of humor as Stephano and Trinculo, two increasingly drunk royal servants, washed ashore." 

                  - Windy City Times, July 10, 2019

Stage and Cinema, July 8, 2019


Chicago, 2016-2019

"The interaction was amazing. The acting was exceptional. I will be booking again, and requesting the group I had. Not sure it could get any better. GREAT CAST. All of my group were great! However, If I have to pick one [standout] it would be my bride." 

                  - Yvonne M., Til Death Do Us Part, as Bridezilla Summer McDonald, February 2019


"Chris and Kat were absolutely fantastic. The event they put on for our store was better than anything we expected and the customers had an amazing time. We will most DEFINITELY be requesting Chris and Kat again. Come back. Stay longer. In fact, stay a week. We will feed you and you can board in the above-store apartment. Not in a we-are-going-to-abduct you way, but in a we want to laugh again kind of way. My only concern is that you will run out of story themes and options, and that we will have to do repeats!! Chris and Kat were the perfect combo, and they both made the entire night unforgettable."

                 - Dylan C., Crime & Punishment, as 20's Songstress Amanda Lay, February 2019

"Thanks again for a fun-packed who-dun-it murder mystery show. You are GREAT and so talented! You kept us actively engaged in the suspense throughout the show. Keep up the excellent work. You are a natural comedic! Thanks again for coming. You made all my preparation well worth the excitement."

                  - Cheryl E., Midnight at the Masquerade, solo show

"We had so much fun! The actors were so interactive and made the night very memorable. They stayed in character the whole time. Both of our actors were great. They made even the shyest of our group come out of their shell."

                  - Mary D. of a two-actor private show


Good Theater, March 2015

"A notable performance is delivered by Kat Moraros as she triples in three distinct roles. She tackles the challenge of playing three radically distinct characters and invests each of her portrayals with an endearing charm. She is a pleasure to watch. She first appears as the kindly psychiatrist trying to ascertain the cause and extent of Juliana’s distress. Then she transitions into Laura, Juliana’s estranged daughter, the very lynchpin of her mother’s psychosis. Finally, she is the innocent stranger forced to cope with the bizarre and incongruous behavior of the demented Juliana."
              - Journal Tribune

"Allen’s cast makes bracing work of White’s fragmented script, which is itself deftly executed. Pacing is so swift and smooth between times and places that we’re kept slightly unsettled, forced to regain our footing, and such leaps are theatrical manna. Allen’s direction also offers beautiful grace notes of physicality and tone: Language itself becomes alarmingly tenuous, shaky, as mouths clamp down on words, open searchingly for them, stutter or moan wordlessly in their absence."
                 -Portland Phoenix


Mad Horse Theatre Company, October 2014

"Kat Moraros is downright perfection in the role of Catherine. A strong, young woman finding her place in the world, struggling to cross the bridge to adult independence without seeming ungrateful to the extended family members who helped raise her. Ms. Moraros exploits the emotions her character is inhabiting with full body, facial, and vocal interpretation. I have seen Ms. Moraros' work more than once in the past few years and this is performance certainly is a crowning achievement."           
                -Portland Daily Sun


"Moraros poses a contrast as she soars high and birdlike with Catherine’s exuberance, but then grounds her for her growing ambivalence, as when she smiles and twitches uncertainly at Eddie’s remark that she looks like a 'Madonna type.' Later, she is startlingly affecting in her breakdown scene, as she crumbles under the absurdity of having to cut Eddie out of her life."              - The Portland Phoenix

"Kat Moraros is positively radiant as Catherine, girlish and womanly by turns, vulnerable and emotionally volatile."                          -


Fenix Theatre Company, July-August 2014

"Moraros really took her meaty role, one of Shakespeare’s strongest female characters, and ran with it for an impressive star turn. Rosalind poses as a man for most of the play and Moraros had no problem jumping the divide between her character’s attempt to portray her idea of what she thinks a man will do and say and the strong but love-struck young woman beneath the disguise. She was great fun to watch as she physically and emotionally transformed from forthright to weak-kneed as she sought to control her passion."            
                   - The Portland Press Herald


Portland Stage Company, March-April 2014


Reviewer Megan Grumbling's Picks

"...two performers in three of my favorite individual performances: First, Kat Moraros, as a [four] year-old in an imaginary dysfunctional relationship with a coke-head in the PortFringe (and, later, Mad Horse) offering Mr. Marmalade, was hilarious and almost disturbingly believable; and as a love/lust-lorn maiden in Mad Horse’s School for Lies, her perfectly-timed comedy built from the subtlest of twitches to a big, luxurious, wanton tantrum."           

                 -The Portland Phoenix


Mad Horse Theatre Company, September 2013

" Eliante, the marvelous Moraros builds her ever-delicious comic timing from the subtlest of twitches to a big, luxurious, wanton tantrum — and what she does with the word “wallow” in her mouth is simply sumptuous."       

                  -The Portland Phoenix          


Mad Horse Theatre Company, June 2013

"Impressive not only for her depth of character, Kat Moraros' Lavinia is a master class in physical acting; she spends ¾ of the show with her teeth firmly clenched, and her fists in gloves rendering her hands (that, as I mentioned, have been severed) completely useless."               


"...this act sets into motion a horrific succession of vengeances, including the rape and amputation of Titus's daughter Lavinia (Kat Moraros, beautifully)..."               

                -The Portland Phoenix


Mad Horse Theatre Company, May 2011

"Wendla and Ilse, an older, promiscuous artist's model (Kat Moraros, with enticing dynamism), exalt in and are aroused by chaos..."             
                -The Portland Phoenix


Acorn Productions, February 2011

"Kat Moraros, as Lulu, giggled her way into becoming perhaps the most sympathetic character in the play."       

                 -Portland Press Herald

"Domestic life in the boarding house continues to deteriorate eerily into whiskey, children's games, casual lust with the bright-eyed, wide-mouthed Lulu (Kat Moraros, who trills with sensual suggestion), and increasingly consuming bouts of nostalgia."                   -The Portland Phoenix


Mad Horse Theatre Company, October 2010

"...their Groton-and-Harvard kids — the excellent Kat Moraros, Evan Dalzell, and Nathan Speckman — are particularly hyperbolic in their surly condemnations of their parents."            

                -The Portland Phoenix

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