LAVENDER MAGAZINE’S 2018

OUTSTANDING SUPPORTING

ACTRESS FOR

MARISOL

&

THE MAIDS

—

“STUNNINGLY MATCHED WITH A

MARVELOUSLY

CUNNING KELLY NELSON

AS THE CONTROLLING CRUEL

WHITE COLLAR JUNE,

BITTER SISTER AND MARISOL’S

FELLOW VERY CLOSE

FRIEND. YET ANOTHER NOTABLE

PORTRAYAL BY NELSON, ONE

OF THE TWIN

CITIES FINEST YOUNG

ACTRESSES.”

—John Townsend’s review of

Marisol | Lavender Magazine

—

“THE THREE ARIELS—

MAIREAD KOEHLER

, KELLY NELSON,

AND SOPHINASAGGAU—

PERFORM WITH UTTER

GRACE, ADDING AN ELEMENT OF

SUBLIME BALLETIC MOVEMENT

TO THE STAGING.

THEY MOVE WITH

BALLETIC GRACE AND SPEAK,

IN TURN OR IN UNISON,

WITH A VOICE

THAT GAINS POWER

THROUGH ITS MULTIPLIED

NUMBERS.”

—Arthur Dorman’s review of The

Tempest | Talkin’ Broadway

—

“CREDIT, ONCE

AGAIN, MUST BE GIVEN

TO COUP D’ETAT’S MOVEMENT

GURU AND LEAD

SPRITE, KELLY NELSON,

AS ARIEL PRIME. …

THEIR CHOREOGRAPHY,

DISSONANT OVER CHORDS

AND OTHER PHYSICAL

REPRESENTATIONS OF THE ISLAND,

BREATHE LIFE INTO THE PIECE.”                                                                                        

—Erin Roberts’ review of

The Tempest | MN Playlist

—

“KELLY NELSON WHO SERVES

AS MOVEMENT CAPTAIN AND

CREATOR

WITH THE COLLECTIVE CAST

IS COMMITTED

AND REALLY TAKES THE

VISUAL STORYTELLING TO THE

NEXT LEVEL.

BECAUSE OF THIS, I ALWAYS

HAD AN IDEA OF WHERE WE WERE

IN THE TEXT.

IT SHOULD BE NOTED

THAT NELSON MAKES A DARN

GOOD DYING WHALE TOO!”

—Erin Roberts’ review of

Moby Dick | MN Playlist

—

“THE EXCELLENT NELSON

FASCINATES WITH DOMINATING

CLASS AND SEXUAL

POWER WHICH IS

STUNNINGLY UNDERCUT WHEN

SHE REVEALS HOW SHELTERED

AND NAIVE SHE IS

TO HOW THE WORLD OPERATES.”

—John Townsend’s review of

Miss Julie | Lavender Magazine

—

”…NELSON IS BOTH

HEARTBREAKING

AND TERRIFYING. SHE HANDLES

NEARLY THE ENTIRE MAD SCENE

IN SONG,WHICH IS REMARKABLY

EFFECTIVE. YOU

STILL GET EVERYTHING

SHE’S SAYING, BUT THE FEELING

BEHIND THE WORDS IS MUCH

MORE FULL. IF SOMEONE MAKES

THE MISTAKE OF TRYING TO

TOUCH HER, THE

SCREAM WHEN SHE RECOILS

FROM THEM ECHOES THROUGH

THE BALLROOM. WHEN LAERTES

LATER CARRIES HER BODY IN

HIS ARMS

ACROSS THE LENGTH OF THE

BALLROOM TO THE STAGE WHERE

THE GRAVEYARD LIES, WE FEEL

THE LOSS TOO.”

—Matthew A. Everett’s review of Hamlet |

Star Tribune

“Kelly Nelson as the Movement Director,

if you don’t really understand

what is meant by that, after you see

Eurydice you will. There are moments

of movement that feel simply beautiful

in a way I cannot express in words,

one of which is Eurydice’s fall

and descent into the Underworld.

— Rob Dunkelberger’s review of

Eurydice | The Stages of MN