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Maldonado’s passionate defense of her husband and her home is especially remarkable: as she stands her ground against Nicolás’ equally impassioned and powerful performance, her performance carries a power that leaves the audience in awe.

-Ajani Jones, DC Theatre Arts

Jardín Salvaje

"Watching her swiftly navigate moments of sincere passion and explosive intensity was endlessly impressive - she tackled a very complex character with astounding finesse, and she enriched each scene with remarkable creative energy."

-UnProfessional Opinion

Jardin Salvaje

"Maldonado shifts seamlessly between characters making clear physical and vocal differentiation among her many characters. She is an adept and captivating storyteller.”

Pamela Roberts, BROADWAY WORLD

How We Got On

"Maldonaldo’s use of gesticulation and voice to embellish story passages, while seamlessly serving as all three of the characters’ fathers, is truly masterful.” 

Maya Oliver, MDTHEATRE GUIDE

How We Got On

Alina Collins Maldonado showcases her distinct and strong stage presence once again as Maid Marian and Much. I've seen her in four shows in the last year and a half and her performances always wow me. This one is no exception.

Elliot Lanes, BROADWAY WORLD

Robin Hood 

"Through her emotive eyes and flashing smile, Maldonado blends barrio swagger with tender vulnerability"

Ben Demers, DC THEATRE SCENE

The Last Days of Judas Iscariot

"endowed with an impressive emotional range, Maldonado sensitively projects a portrait of a young woman, brimming with passionate sensuality” 

Rosalind Lacy, DC THEATRE SCENE

Los empenos de una casa

"It's a gutsy performance in that we don't expect it and yet, it works to great success."

Benjamin Tomchik, BROADWAY WORLD 

The Last Days of Judas Iscariot

"She pulls this off on the strength of her charisma and total commitment each second she’s on stage."

Jessica Vaughan, DC METRO THEATER ARTS

How We Got On

"As the boastful, foul-mouthed, trash-talking Saint Monica, Alina Collins Maldonado sets the tone early for the high stakes court room hijinks and her spirited, scene stealing, historical revisionism that brings flava to Purgatory and laugh out loud laughs."

Sydney Chanele-Dawkins, DC METRO THEATER ARTS

The Last Days of Judas Iscariot

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