“They are backed by an outstanding supporting cast. . . .Tuyet Thi Pham provides a little comic relief as the sinister Fan Wang and also plays Fanny, one of the Singer family.”
“The commanding ensemble of 10 includes. . .Tuyet Thi Pham in a similar role from China, with actors speaking convincing Farsi, Arabic and Mandarin as required.”
“The company of actors are likewise to be highly commended. . . Tuyet Thi Pham first enters somewhat quietly, playing first what I believe is an almost silent indentured “oriental” servant in Cornwall. Later, she creates a star turn, when the worlds are reversed in the not-too-unlikely future, as a Chinese entrepreneur bringing a new energy source harvested from the moon, clearly ruling the world in the next power-shift cycle.”
"The cast gives each character a nuanced 3-dimensionality. . . Then there is Jenny (Tuyet Thi Pham), the servant from an unnamed Asian country, who has served Henry for years. Her facial features say so much without a word uttered. An arched eyebrow, a pursed mouth. She is one who brings this riddle to Grace who turns them into a mantra, “What makes tears true?”
"If Grace is one fulcrum of the play — the “yes” fulcrum, impulsive and inquisitive — Jenny is the “no” fulcrum, calculating and silent, and Pham plays her perfectly. Grace needs to fool herself if she is to avoid facing the consequences of her choice, and Jenny permits her to do so without saying a word. Of course, she has dialogue, but Pham says more with her face than she does with the text, and thus makes Jenny the perfect facilitator of Grace’s deepening woe."
"Another supporting actor needing to be mentioned is Tuyet Thi Pham who tackles various roles, including the communist, Comrade Chin. Pham gives an authentic, strong performance and seems to grasp this character wholly, embodying her with every word."
"Thi Pham does impressive work as the stern, unyielding Comrade Chin, assigned to keep tabs on Song and the spying."
"Tuyet Thi Pham also does a superb job portraying a host of characters, from the dogmatic Comrade Chin to the demure handmaid Suzuki."
"The rest of the cast, who move in and out of multiple roles with ease, deserve high praise as well: . . .and Tuyet Thi Pham as Song’s fervent, communist handler."
"The humanity that shines through the show, the warmth it radiates, is its strong suit and is a credit to the uniformly excellent cast: David Gaines, Tuyet Thi Pham, Carlos Saldana, and Eva Wilhelm. (Pham is especially impressive; more than enacting her subjects she channels them, as when an electrode is placed on her forehead and she exults uncannily with long-lost memories of her youth.)"
"Four gifted actors, David Gaines, Tuyet Thi Pham, Carlos Saldana and Eva Wilhelm, well-directed by Richard Henrich, take turns playing the Doctor and Patient as effortlessly as a game of musical chairs. They deliver superb, powerful performances, an excellent reason to see this play. . .Tuyet Thi Pham collapsed in a chair complaining that she cannot move, “I’ve lost all sensation in my body. And what’s the point of having an active brain and no mobility?” We empathize with her despair as we watch Tuyet struggle to walk and hold an object at the same time."
"In one particularly moving scene, Pham plays a woman who is unable to put her complex thoughts into words. Although she speaks with ease, the words she connects make little logical sense to her doctor (Wilhelm) or to the audience, but her phrasing is filled with genuine emotion and the monologue sounds like a profound absurdist poem. In an effort to help, the doctor records the patient’s ramblings and plays them back to her, but this only leads to sadness and confusion."
"The strongest scene in the show, and arguably the hardest to watch, comes just before the close. Tuyet Thi Pham is a patient who believes her linguistic impairment has been overcome, and when she discovers that it has not, she rages and laments entirely in monologues of both misused words and nonsense words. The experience is like watching a performance in another language, even though some of the words are familiar. With a near-operatic range of cadences, Pham fully expresses her character’s frustration at her plight. We know what she is saying, even though we do not understand her words."
"David Gaines, Carlos Saldana, Eva Whilelm and Tuyet Thi Pham are very strong. The latter in particular makes an impression when the stimulation of one part of the brain triggers vivid childhood memories otherwise blocked. Later in the production, she's in the middle of a very complicated scene - trying to make herself understood, though the word choices are all wrong, such that the scrambled addresses become more and more abstract - a fact that's unknown to her until it's taped and played back."
"The three performers are all terrific. Rooney had the kids in the palm of his cymbal-crashing hand. Pham moves with impressive precision and brings an engaging radiance to Blossom."
"Tuyet Thi Pham has an energetic, almost hypertense form that drives pace. . . with nice variation in tempo and an excellent display of the ever-elusive range that so many actors try for, but few succeed in finding."
"A talented six-actor ensemble characterizes the many voices, ethnicities, and identities that make up the American populace, and Our War’s spare production style emphasizes story over spectacle. . .In Context by Ken Narasaki, Tuyet Thi Pham convincingly portrays the shock and disaffection of a young girl of Japanese heritage who learns, for the first time, of her family’s own experience of the repressive chapters of their adopted country."
"Several standout acting moments emerge. . . Tuyet Thi Pham and Lynette Rathnam give voice to two of the most sociologically nuanced monologues of the night - Ken Narasaki's Context and Aditi Kapil's Moo. Their confidence and spunk serve the pieces well."
"Also appealing is Tuyet Thi Pham, serious and alluring, even when not uttering a word. "
"Pham adds some much needed edginess as cynical artist Claire Tsong. She counterbalances all the high-minded artistic chatter with her practical “art is just money in canvas form” sentiment."
"Another standout is Tuyet Thi Pham, nicely acerbic as a frustrated restoration artist, she proves a deft master of transformation."
"Tuyet Thi Pham performs a moving turn as the transgendered librarian Oshima: her identification with the young Kafka undoubtedly saves his life psychically."
"Also turning in nice work here are ensemble members. . . and Tuyet Thi Pham, as a strong, insightful transgender librarian who may be the only authority figure genuinely capable of parenting Kafka."
"Tuyet Thi Pham offers a grounding presence as Oshima, a young transgender who kindly offers Kafka guidance and shelter as he flees from his home. Equally able to handle comedy and drama, including a rather satirical scene as gender equality issues are discussed, she is certainly a formidable acting force and is one of the few who is able to bring some life out of Wong as Kafka."
"Pham is saddled with representing the ghosts of My Lai, the Viet Cong, innocent villagers. She’s tossed like a sack of rotten potatoes into the ravine throughout the play, at one point, she’s face down in the sand for so long it’s truly a wonder how she breathes. But she does, gets up, gets out, and breathes life into her various characters with captivating effectiveness."
"Tuyet Thi pham is compellingly driven as Lue Ming."