"The dancing was stark and tough, the language was effective... There were no clichés, the reflections were honest and bare..."
---Clarissa Wittenberg, Washington Review
"Woodson plays on the edges of life... Her focus appears to be at the point where one more gesture, move, word or word series will set off a whole new chain of events... she presents her audience with a theatrical time bomb, a pistole, which is not fume, but about to blow a hole in the first whisker that quivers."
---Bronwyn Mills, Valley Advocate
"Meanings overlap, beginning in the middle and segueing into something else before really ending. When repeated with slight changes, the text veers off wildly in allusion. The movement too is mined for ambiguity; it is based on familiar expresssive gestures whose dynamic and spatial textures are cockeyed."
— Suzanne Carbonneau Levy, Washington Post
“…uncanny ease and fluency, offering characters who seem immediately both familiar and strange.…here, theater draws you toward something unassuming and real.” ---- Rosalyn Sulcas, NY Times
" Cliches were broken apart and reformed in a kaleidocope of enhanced meaning much as a poem uses the spoken word yet conveys meaning far beyond the literal sense of the terms....Woodson has made this difficult genre her own
....vividly clear themes and execution"
-- Julie Van Camp, Washington Times
"It is good-humored satire, targeted at human foibles, at the problems of relationships and communication. And it is genuinely funny!"
--- Manon Souriau, Dailey Hampshire Gazette
"...an art that makes one think and feel...most striking and mysterious to watch....it reaches through physical actions into deep universal feelings and experiences. It is an art which is not fragile"
--- Linda Frazee Baker, Washington Review
"Woodson's theater is one of archetypes, psychological journeys, risks, visions... it is the ability to dig down deep within herself and absorb from the outside that makes her one of the most innovative artists.
— Pamela Sommers, Washington Post