Mary's Wedding (Chester Theatre Company)

"Set against the background of World War I, Canadian playwright Stephen Massicotte's "Mary's Wedding" is a love story that could go wrong in so many ways. That it doesn't says a great deal about the strength of the production this two-actor-three-character play is receiving at Chester Theatre Company under the direction of Colette Robert." -Jeffrey Borak, The Berkshire Eagle

"The creativity of director Colette Robert is in everything throughout Mary’s Wedding, making the transitions between all the different times and locales easy for the audience to follow: no small feat. The dreamlike quality of each scene, natural pace of the dialogue and the lovely chemistry between all the characters show a master’s hand." -Mary Fernandez-Sierra, In The Spotlight

"The acting and production are so seamless that the ride through time is enchanting though it tells a wistful tale of separation and loss...Colette Robert's subtle direction and pacing create a space where everything is possible in a dream state where Mary revisits the past on the night before her wedding in 1920." -Gloria Miller, Curtain Up

"The direction by Colette Robert is subtle allowing the story to unfold simply.  Her staging is clean with imaginative stage pictures while the pacing enhances the dream-like elements of the plot." -Macey Levin, Berkshire on Stage


Colette is the 2018 Beatrice Terry Director in Residence

"The Drama League (Gabriel Stelian-Shanks, Executive Artistic Director) has announced the theater directors and ensembles chosen to develop new plays and musicals as part of the 2018 Drama League Artist Residency Program...An all-star advisory panel, including director Michael Mayer (Head Over Heels), playwright Gretchen Michelfeld (Nellie Bly), New Georges Artistic Director Susan Bernfield, Women's Project Artistic Director Lisa McNulty, and Mr. Stelian-Shanks made the selection."


How My Grandparents Fell in Love (Ensemble Studio Theatre)

"Mr. Gitter’s “How My Grandparents Fell in Love” is a gorgeous high note to end on: a Jewish screwball romance set in Poland in 1933. Unlikely, yes, but also uproarious and beautifully cast, with tone-perfect direction by Colette Robert." -Laura Collins-Hughes, New York Times*

*NYT Critic's Pick


The Interval

The Interval’s Women to Watch features “16 female writers, directors, designers, and producers who the theatre community should be watching."


The Mountaintop (Chester Theatre Company)

“Colette Robert has done a beautiful job with a difficult set of problems in this play...It's a very good play in the hands of very talented people. Chester is closing its season with a play people should rush to see. -J. Peter Bergman, Berkshire Bright Focus

“This is a strong finale for Chester’s season, bringing a quality play and talented actors to local audiences.” -Jonathan Levine, The Pittsfield Gazette

“Director Colette Robert achieves a dreadful, tightening sense of inevitability on the stage, in a claustrophobic interpretation, designed by Travis George, of the room where King spent his final night on earth.” -Dan Dwyer, Dan Dwyer Off Script


when last we flew (Diversionary)

“A soaring production, with high-powered acting and direction.” -Pat Launer, jazz88.org

“Diversionary Theatre made the savvy decision to bring out west its very talented original director, Los Angeles-to-New York transplant Colette Robert...a production that looks every bit as good as a West Coast Premiere deserves to be.” -Steven Stanley, stagescenela.com


when last we flew (FringeNYC)

“Colette Robert directs a phenomenal cast who dive into the world of the play so deep that the audience has no choice but to follow.  Her staging is simple and elegant.” -Michael Roderick, broadwayworld.com

“The seven-person cast, under Colette Robert’s superb direction, could not be bettered...This was the last of the 14 shows I’ve reviewed in the Fringe this year.  It couldn’t have possibly ended on a higher, more thrilling note.” -Erik Haagensen, Backstage

“Colette Robert’s production and Rivers’ script are by far some of the most polished I’ve ever seen at FringeNYC.” -David Gordon, nytheatre.com