2026 Press
Acting
"The wild card was Gunophilus. With hair in two little buns that, when Gunophilus was sat huddled in a corner at the side of the stage, reminded me of no-one so much as Jerry the Mouse, Westbrook embodied something of the mouse’s mischief and chaotic creativity. Scurrying about the stage, and tasked often with triangulating onstage reactions, Westbrook’s Gunophilus worked hard: serving as a human throne on which the regal Pandora sat; running back and forth to fetch shepherds or banquet props; carrying the seemingly endless array of tokens that Pandora kept pulling out of her dress; or simply enjoying submitting to his mistress’s every whim. Westbrook played Gunophilus as one of the youngest figures on stage, clearly a boy, and used that to show Gunophilus responding with an entirely guileless wonder to everything he saw, rarely troubling to conceal his reactions. This led to a lot of fun during the scenes in which Pandora and Gunophilus worked together to loudly declaim lies for the sake of overhearers, but also fueled the sudden intrusion of Gunophilus into the love plots as he declared his own status as Pandora’s true love."
​
- The Bardathon, The Woman In The Moon
​The Bardathon | Macbeth: Understudy performance (Constellation Shakespeare Collective) @ Silver Line Theatre Exchange
The Bardathon | The Woman in the Moon (Constellation Shakespeare Collective) @ The Blackfriars Playhouse
The Bardathon | All’s Well That Ends Well (Constellation Shakespeare Collective) @ The Blackfriars Playhouse
The Bardathon | ‘Tis Pity She’s a Whore (Mortal Fools Collective) @ The Wharf Loft
"And complicating all of this was Westbrook’s Annabella. A scene between Annabella and the Friar brought home the personal consequences of all of this for Annabella, weeping openly in fear and guilt. Westbrook’s compelling performance refused to make Annabella a mere victim – her equivocation with Soranzo, her rejection of Soranzo’s violence, her embrace of her desire for her brother, and her equally committed standing-up to him in the final scene, all showed a woman determined to make her own choices, and equally capable of reckoning with the fallout of the bad ones."
- The Bardathon, 'Tis Pity She's A Whore
2025 Press
"On occasion, you’ll have the chance to catch some up-and-coming stars of the stage who come on as understudies. Taking the place of Raven Lorraine, on the night I was there, Becca Westbrook proved exuberantly audacious as Dromio of Ephesus[. . .]The penchant for slapstick is strong in her, and she’ll keep you in stitches, when she’s not dodging the wrath of both Antipholi (I swear that’s a word)."
-DC Theatre Arts, The Comedy of Errors
Acting
The Bardathon | The Emperor of the Moon (Constellation Shakespeare Collective) @ The Wharf Loft
The Bardathon | The Winter’s Tale (Constellation Shakespeare Collective) @ The Wharf Loft
The Bardathon | Macbeth (Constellation Shakespeare Collective) @ The Wharf Loft
The Bardathon | Quinze (Constellation Shakespeare Collective) @ The Wharf Studio and Loft
DC Theater Arts | Laughs come hard and fast in ‘Comedy of Errors’ at American Shakespeare Center
The Bardathon | One and the Same (Streetlight Shakespeare Ensemble) @ The Wharf Loft
Directing
"In a waiting area, a woman (Becca Westbrook) sat in near complete stillness before a coffin as audience members arrived and hovered, unsure of their next steps. This figure – who may or may not have been The Winter’s Tale‘s Paulina – did not ignore the audience, but rather met and held people’s gaze, occasionally gesturing in acknowledgement but giving nothing else away. She, and we, were waiting for something, had perhaps been waiting for a long time. Fifteen years, perhaps."
-The Bardathon, Quinze
"And while super-substitute Becca Westbrook, understudying as Mary, repeatedly stole the show with pitch-perfect moralizing (“Oh do hush, Mary!”), fumblings with curtains, and other social awkwardness, her most hilarious moment – in which she belted out an overlong and disproportionately confident solo, interrupting the Bingleys’ ball – was followed by the upsetting sight of her realizing her humiliation and running offstage. . ."
​
- Come To The Pedlar, Pride & Prejudice
2024 Press
Acting
The Bardathon | Everybody (Mary Baldwin University UG Theatre) @ The Fletcher Collins Theatre
The Bardathon | The Two Noble Kinsmen (MBU Shakespeare & Performance) @ The Blackfriars Playhouse
Come To The Pedlar | THEATRE: Pride and Prejudice by Emma Whipday (American Shakespeare Center)
The Bardathon | Sir Clyomon & Sir Clamydes (Meadowlark Shakespeare Players) @ The Wharf Loft
Directing
"Westbrook in many ways had the most important storytelling task of the production, with Emilia becoming the audience avatar for the unreasonableness of what Palamon, Arcite, and Theseus were all asking of her. Her horror at being asked to choose which man she would marry and which would die was undisguised, especially as the production had strongly implied that neither would have been her preferred answer, had it not been given to her to save one of them. Hippolyta, in a beautifully kind performance by Frishman, saw Emilia’s struggle and shared in her sadness, but the solidarity between the two didn’t give Emilia an answer. Boldly following the play’s own choices concerning spectacle, the climactic battle between Arcite and Palamon was left offstage, the production understanding that Emilia’s response to the shifting fortunes of the battle was the true story. While Westbrook indulged in some comedy as she showed her miniatures of her two suitors to audience members in the gallant stools, her achievement here was keeping the stakes of the otherwise very silly comedy of Palamon and Arcite visible, and her choice impossible."
​
-The Bardathon, The Two Noble Kinsmen
2023 Press
". . .Iona (Westbrook), who offered a hilariously grounded counterpoint. Iona’s wide-eyed disbelief at her mistress’s barely concealed incriminating remarks placed her in an impossible situation, and she desperately decorated the tree (and audience members on the gallant stools) in her own attempt to distract herself from the inevitable."
- The Bardathon, Lady M's Christmas