Reviews
SWEET 15
“…and the lusty, drunken grandmother Chata (Alma Martinez) gets paid off, no problem there. Martinez owns the show. Her comic timing, blazing energy and feminine warmth blithely steal every scene she’s in.”
~ Union Tribune, San Diego, California, Friday November 30, 2007
ANNA IN THE TROPICS
“…[Director Gonzales’] casting is darn-near perfect. Dukakis and Martinez (who teaches at University of California Santa Cruz) are right on the money as the amiably antagonistic Alcalars.”
~ San Jose Mercury News, San Jose, California, March 13, 2006
ELECTRICIDAD
“Another plus is Alma Martinez’s juicy turn as Electricidad’s paternal grandmother, who lost a husband and two children to gang wars, once kept knives and joints inside her beehive hairdo and now wants to prevent her granddaughter from matricide.”
~ Joel Hirschhorn, Variety, Los Angeles, California, Friday April 8, 2005
“The stubborn Electricidad will take no advice from her grandmother (the touching Alma Martinez), a chola from the old school.”
~ Ed Kaufman, The Hollywood Reporter, Los Angeles, California, Monday, April 11, 2005
THE SEAGULL
“He is jealous of Trigorin…a popular writer and the lover of Treplev’s famous actress mother, Irina (a gracefully theatrical, proud, and craftily jealous Alma Martinez).”
~ San Francisco Chronicle, San Francisco, California, Tuesday, July 30, 2002
MUMMIFIED DEER
“Valdez is onto something-and with the dying matriarch Mama Chu, played with grit and vitality by Alma Martinez, he’s on to a potentially formidable central figure.”
~ Los Angeles Times, Los Angeles, California, Friday, November 3, 2000
“Longtime Campesino veteran Alma Martinez, who spends most of her time in a hospital bed, anchors the show with the clearly articulated strength and anguish of Mama Chu, the matriarch of the clan.”
~ San Francisco Chronicle, San Francisco, California, Wednesday, April 17, 2002
BALLAD OF A SOLDIER
“Johnny’s mother (Alma Martinez), a very different kind of Mexican matriarch, contributes to the complexity of characterization.”
~ The San Francisco Bay Guardian, San Francisco, California, September 13-19, 2000
TWELTH NIGHT
“Alma Martinez, who gives the show’s most spontaneous performance as the naughty maid Maria, lapses into Spanish when her passions boil.”
~ San Francisco Chronicle, San Francisco, California, Monday, December 14, 1998
SKIN OF OUR TEETH
“Michael J. Hume and Alma Martinez turn in equally humorous and touching performances as the bread-winning, philandering Mr. Antrobus and the long-suffering Mrs. Anrtobus – Wilder’s dead-on versions of Everyman and Everywoman.”
~ Kristina Mannion, Back Stage West, Los Angeles, California, 1995
IN THE SUMMER HOUSE
“(Diane) Wiest is a compelling off-center choice… and her performance is a minor miracle of intelligent moves…Equally superb are (Frances) Conroys deliciously dotty Mrs. Constable, Alma Martinez’ effervescent Mrs. Lopez…and Liev Schrieber who makes a memorable Broadway debut as the earnest, poet manque Lionel. ”
~ Jan Stuart, New York Newsday, New York City, Monday, August 2, 1993
“ …Alma Martinez as mother No. 3 at least manages to suggest that in a better part she could really do something.”
~ John Simon, New York, New York, New York, August 6, 1993
“The Latino actors probably aren’t delighted with the play’s image of Mexicans as an intrusive Other…but they do well by it nonetheless, particularly the vocal trio and Alma Martinez, as Gertrude’s insistent sister-in-law.”
~ Michael Feingold, The Village Voice, New York, New York, August 17, 1993
BLACK DEATH
“Alma Martinez is a standout as a medical worker who gets too close.”
~ Tony Scott, Variety, Los Angeles, California, March 24, 1992
ONE CRAZY DAY: THE MARRIAGE OF FIGARO
“Performances by everyone are exceptional. Notables include Tony Award Winner Bouchard; Martinez, whose hysterical performance was a treat to experience…”
~ The Phoenix Gazette, Phoenix, Arizona, Wednesday, November 4, 1992
SONS ON DON JUAN
“Alma Martinez, outfitted in tight-fitting dresses and occasionally as a flamenco dancer, plays Blanca as a strong, vibrant woman, filled with passion and longing. With her smoky voice, she creates the illusion of a popular singer.”
~ Sarasota Herald-Tribune, Sarasota, Florida, Friday, June 12, 1992
HELLO DOLLY!
“Alma Martinez’ Ernestina Money is the most fiery personality on display, and is brilliant in several roles…”
~ Bruce Feld, The Hollywood Drama-Logue, Los Angeles, California, October 1991
MAN OF THE FLESH
“These women all handle the transitions smoothly, as does Alma Martinez in her triple role as the libidinous Downey maid; Juan’s dead mother who comes back to condemn him, as well as a third spirit who proves to be Juan’s fatal attraction at the end of the play.”
~ Nancy Churnin, Los Angeles Times, Los Angeles, California, Friday January 11, 1991
“Alma Martinez nicely demonstrates the scope needed for the buffoonery of the randy maid and the ominousness of Death.”
~ Brau, Variety, Los Angeles, California, Wednesday, Jan 16, 1991
SHADOW OF A MAN
“They are at opposite ends of the female experiences – the young one fill of fear and wonder at a budding sexual-spiritual awareness, her elder armed with hard-won wisdom and resignation. They serve as a frame for the story of Lupe’s mother, Hortensia, who is still inversed with the first, not yet ready to surrender to the other. Alma Martinez (TV’s “Adam 12-1900”) plays her with barrowing power.”
~ The Tribune, Oakland, California, Wednesday, November 14, 1990
“Hortensia, a quien da vida la sensacional actuacion de la excelente actriz Alma Martinez…”
~ Tiempo Latino, San Francisco, California, December 1990
I DON’T HAVE TO SHOW YOU NO STINKING BADGES
“As Connie, Martinez is wonderfully high-handed, mixing drinks with a cigarette holder and answering the phone as “Constance de Ville” When she and Buddy connect for some song-and-dance routines in the incrementally more absurd costumes (by Sylvia Vega-Vasquez) Their Roles demand, they become something more than the sum of their bit parts.”
~ San Francisco Examiner, San Francisco, California, Tuesday March 13, 1990
“Martinez is a fine match as Connie, who’s angling for a minor role in a new Jack Nicholson movie. Both Martinez and Moroff play these characters as they are written, larger-than-life, and their one-liner wisecracks are perfectly delivered.”
~ San Francisco Chronicle, San Francisco, California, Thursday, February 8, 1990
WAIT UNTIL DARK
“Alma Martinez plays the blind housewife whose home is invaded by slick but grimly resolute con men in search of a child’s doll stuffed of smuggled drugs. She’s required not just to “act blind” but, as her nerves and the audience’s grow increasingly frazzled, to crash into furniture and walls she can see perfectly well. She’s terrified, brave, shrewd, and panicky all at once, and she carries conviction with every emotion.”
~ The Morning Call, Allentown, Pennsylvania, October 16, 1989
BOCÓN
“Children’s theatre doesn’t get much better than this…He is aided by the legendary La Llorona (Alma Martinez), the spirit of a woman who killed her own children to save them from a tragic fate.”
~ Lynn Heffley, Los Angeles Times, Los Angeles, Californa, Friday, April 7, 1989
BURNING PATIENCE/ARDIENTE PACIENCIA
“Performances are headed by Alma Martinez, strong and loving as the wary mother.”
~ Brau, Variety, Hollywood, California, Monday, November 26, 1988
“…Alma Martinez como ‘Rosa’ arrebato’ la atencion con su fabulosa actuacion…”
~ La Prensa San Diego, San Diego, California, December 1988
GREEN CARD
“The cast isn’t as big as it seems – only 11 performers. Their names say where their people came from: Raye Birk…Alma Martinez…Mimi Seton. But their talent is interchangeable and anybody is likely to take on any task or accent.”
~ Dan Sullivan, Los Angeles Times, Los Angeles, California, Friday, May 30, 1986
THE MISER
“For pure commedia address, we can look to Alma Martinez’s Mariana, Harpagon’s daughter-in-law about-to-be. In gesture, attitude, presence, and movement, she’s a definitive commedia ingénue.”
~ Lawrence Christian, Los Angeles Times, Los Angeles, California, Tuesday, June 12, 1984
UNDER FIRE/BAJO FUEGO
“Strong performances also turned in by…Alma Martinez as a translator/partisan.”
~ Tina Daniell, The Hollywood Reporter, Hollywood, California, Monday, October 17, 1983
“Alma Martinez inhabits the schizophrenic personality of Isela, a full time rebel leader moonlighting as a translator, with a frightening fervor.”
~ David Galligan, The Hollywood Drama-Logue, Hollywood, California, Oct. 27- Nov. 2, 1983
“Alma Martinez pesonifica a ‘Isela Cruz’…este papel lo desempeno magistralmente.”
~ La Opinion, October 1983
“…la traductora Alma Martinez, una brillante actriz…”
~ Mundo Artistico, November 1983
LAS MARIPOSAS SON LIBRES/THE BUTTERFLIES ARE FREE
“Playing the part of the free-spirited Jill Tanner, an aspiring young actress and neighbor of Dan, is Alma Martinez. Miss Martinez, young in years but long in experience, lights up the stage the moment she prances into sight for the first time. She gives a commanding performance as the show moves along at a fast pace with a versatility in both comedy and pathos. Her reaction, after she finds out that the charismatic and easy going Dan is blind, is oustanding. Her return to a free-wheeling blithe spirit in a short period of time demonstrates Miss Martinez may have previously played the big-time – which she has in several Hollywood productions.”
~ San Antonio Light, San Antonio, Texas, April 14, 1982
LATINA
“Lynna Picallo…is good in her role as a Tio Tom Hispanic. Alma Rosa Martinez ditto as a domestic striking for better working conditions and improvement of the Hispanic’s lot.”
~ Edwa, Variety, Hollywood, California, Thursday June 12, 1980
“Alma Rosa Martinez has a fiery beauty as the proud Guatemalan, Lola.”
~ Gretchen Henkel, The Hollywood Drama-Logue, Hollywood, California, June 12 – June 18, 1980
ZOOT SUIT
“Alma Rosa Martinez has a disarming straightforwardness as Della Barrios.”
~ Gretchen Henkel, The Hollywood Drama-Logue, Hollywood, California, March 9-16, 1979