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Charlebois Post review of Phone Whore (Montreal, January 2012)

... Moore is, most of all, a highly-skilled actor (here and in phone job). She juggles the performer/spectator dynamic constantly. One minute we are accomplice - she speaks directly to us (and with tonight's minuscule audience it was possible for her to actually make eye-contact with each one in the house). In these moments of complicity she tells us about the work, about what it pays, about how the business of it works. Then she gets a call and the complicity evaporates.

The spectators becomes voyeurs, even intruders. Moore closes slightly away from us; she doesn't wink at us during the torrid call, we are not there. Often we laugh (easily, uncomfortably, horrified and delighted), sometimes there is dead silence especially near the end of the work when the calls take on a different colour and descend into profoundly shadowed corridors of the human experience. You are challenged, even tested; but it is a cathartic moment when all of your values are thrown into sharp focus and how you deal with the entire play becomes a case of how you parse it in your own head.

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