"Sirois is alternately heartbreaking and delightful as the easily-illusioned Nina, a bird lining up to be shot time after time."
"I'm told Ferdando Arrabal, now in his 80s, made a special trip to America to see Dirt [Contained] perform his play. Having seen this extraordinary cast, led by the at once nymph-like and ferocious Tana Sirois, I can see why."
"Lais, performed by Tana Sirois, is the vessel, the subject we move and feel with, that changes us. She confronts her id, distorted self-image, and the repercussions of her ambition- and it is as luscious as it is agonizing."
"Tana Sirois as Tracy and Glenn Provost as Ben are simply stunning, every move made, glance or statement is permeated with authenticity."
"The performances are relentless feats of vulnerability, cruelty, mania, and desperation. I can only imagine the emotional toll it took on this remarkable company of actors night after night. All five cast members fade completely into their roles, particularly those playing children – indeed, it’s a welcome return to reality when one remembers that Sirois and Thomas are not, in fact, under the age of 10."
"Emotionally damaged or not, Tracy really is a bitch. But Sirois gives that bitchery intricate dimensions and variations, deftly layering the young woman's offensive and defensive digs, and lightening them with the occasional purely playful one. Her eyes and mouth reveal much about her inner suffering, as her gaze steels and softens, as the hard, cruel line of her jaw sometimes twitches or melts at the edges."
- Portland Phoenix (Seascape with Sharks and Dancer)
"Tana Sirois, in the finest performance I've seen her give, shows us a spoiled, silly child one moment and a distraught, post-partum mother the next; it's a masterful performance in a role that would challenge the most experienced of actresses."
-The Wire (Starcrossed)
"Both Provost and Sirois are riveting in their interpretations of the two characters. They are invested, body, mind, and soul, in who Ben and Tracy are, and what they want. The attraction between the pair is palpable, even though their verbal and physical exchanges are often contrastingly ugly. These actors are fearless in their choices; they not only follow through in articulating their internalization of what motivates their characters, they do so to the nth degree- it's acting that leaves bruises on the bodies and souls of the actors as well as the audience lucky enough to see these two fine actors manifest their craft."
"Summer Blink marks an impressive debut for Todd Hunter as a feature writer/director but more than anything it's a huge sign of arrival for Tana Sirois as a ferocious screen talent."
"As Rosalie, Sirois is asked to negotiate a wide arc of growth, from bothersome younger sister to precocious preteen coquette to troubled wife with child, and her evolution is remarkably nuanced."
"Sirois, particularly, is a marvelously sensitive and intelligent young actress, whose work I make a point of following, and it's a treat to see her with such gorgeous and timeless words on her lips. Her Juliet has a mighty emotional scope and dynamism; she beautifully mines the role's perch between girlhood and womanhood"
-Providence Phoenix (Romeo and Juliet)
"Sirois is in every scene in the film -- the camera almost never strays from her, in fact - and she may be the real deal. She has old-school Hollywood beauty, and, in the truest tradition of screen acting, you can't see her wheels turning. She doesn't wait in a scene to speak her line; she's listening to what others have to say, and she reacts to that. The way she reads a line reminds me of Myrna Loy, who could give sound and color to a grocery list. This is a fully realized performance by an actor one suspects will go very far. Let's hope Hollywood gives her parts as well-written as this."
"Theatre as it should be: raw and passionate.”
-John Maguire, Firecracker Fashion, praise for "The Last Eden"
“Exploring the notion of man as a storytelling beast, [The Last Eden] cleverly interweaves live action, multi-media, lighting and bio-mechanical choreography. Theatre as it should be: raw and passionate.”
"Sirois' production is marked by some fine character work, ample and diverse sensorial stimulation, and Jeanne McCartin's remarkable costume design. Her interpretation doesn't shake the well-known story too far from how most of us will remember it, from either the book or the Disney movie, but it is certainly an Alice for grown-ups. It succeeds not by reinventing the narrative wheel, but by embracing the traditional story at its pressure points. At its strongest moments, this Alice is as visceral as dreams themselves, and recalls the scariness, static, and delirium of what our subconscious can wreak."
-Meghan Grumbling (Portland Phoenix)