Barnett-Mulligan did a delicately lovely job of rendering Thomasina, who (Stoppard being Stoppard) speaks more like a literature professor than a tween. With motion, posture and gesture Barnett-Mulligan precisely located Thomasina’s inner child, making lines that look stilted on the page ring true in performance by sheer force of personality.
— Williams Record, review of Arcadia

“Lydia Barnett-Mulligan’s Dr. Caius made me (and the audience I saw it with) laugh many, many genuine times. On paper, it would seem a goofy over-the-top portrayal, but Barnett-Mulligan sells the shit out of it and it is gold.”

- Jonathan Clark, Dig Boston review of The Merry Wives of Windsor at Actors’ Shakespeare Project

“Justine (Lydia Barnett-Mulligan), a perfect comic foil, who delivers the most melodramatic lines with expert timing and pitch to heighten the play’s ridiculous energy”

- John Perich, Periscope Death review of Her Red Umbrella at the Factory Theater

“The Cap & Bells production of The Tempest, directed last May by Lydia Barnett-Mulligan… was astonishing for its beauty, freshness, and innovation.”

- Gail Burns’ “Best 10 Productions of 2008″ on her blog, Gail Sez

“Barnett-Mulligan captures the conflicted nature of Chrysothemis well, sweeping nearly seamlessly from fury to self-doubt and back again in her row with her sister.”

- Williams Record review of Electra, directed by Sam Gold

“The Mayor’s daughter (Lydia Barnett-Mulligan ’10), whose pouting facial expression and fatuous exclamations I will not soon forget. The tension between mother and daughter, as both fall in love with the faux government inspector, is one of the more entertaining subplots to the play, and quite well-acted.”

- Williams Record review of The Government Inspector

“The other young actor in the cast, Lydia Barnett-Mulligan, found a way to use her few lines richly and rarely. What can be harder than portraying a believable innocent? Even more difficult, one who switches to an easy lasciviousness with slight provocation. This young actor (also a superb director) managed to nail both of these things. The seduction scene is basically a rape in which she screamed and threw herself around as any young girl accosted would do. These hollers and whoops I found the most realistic vocality in the production. It wasn’t theatrical. She acceded to the seduction in a way which was equally, believably young. It was direct. It was simple. All of this in a matter of five or six minutes of stage time. She made it work. I believed it.”

- Keith Kibler, Berkshire Review’s review of Les Liaisons Dangereuses at Shakespeare & Company, directed by Tina Packer