Adrianna has won for her role as The Jailer’s Daughter Best Performance by a Female in a Feature Role/Ensemble (Play) by Broadway World and Best Female in an Indie Company Production Best Actress Adrianna Prosser in The Two Noble Kinsmen (Urban Bard) by My Entertainment World:
“The performances in this category range from leading ladies in title roles (like Megan Cooper in Romeo and Juliet and Sochi Fried in Hedda Gabler) to Shakespearean comic relief (like Jessica Moss and Paula Schultz in The Taming of the Shrew) to character parts without real names (like Eve Wylden as The Doctor in Woyzeck). This year’s winner belongs in that last category, a fact that possibly makes her all the more deserving of the award. As the unnamed Jailer’s Daughter in The Two Noble Kinsmen, Adrianna Prosser created the most detailed and engaging character in the play, name or no name.”
“The most (read: only) intriguing female part belongs to the remarkable Adrianna Prosser as the unnamed “jailer’s daughter”, the spiraling unrequited lover who owns the story’s subplot.” – My Entertainment World
“Excellent as well was Adrianna Prosser as the jailer’s daughter. Her character might not rate a name, but her performance as the b-plot protagonist certainly rates attention. From her first monologue of affection for the imprisoned Palamon, she wins you to her side. As her character descends into the madness of absent love, Prosser takes you along for the ride. Comparisons to Ophelia are naturally inescapable. However, unlike the drowned maiden of Denmark, this is a fiery romp of crazy, completely engaging and enjoyable, and with a happier end.” -Staged in Toronto; Blog
Mooney On Theatre Review says “The jailor’s daughter (a fiery-eyed Adrianna Prosser) is herself taken by Palomon, freeing him and setting the kinsmen’s plot in motion. However she manages to lose her mind while imagining her future with Palomon, prancing and rolling about with leaves in her hair, popping up at just the wrong times and standing among audience members delivering her nonsense monologues with intensity and frivolity at the very same time.”