Helen Hayes–nominated Patrick Joy was subtle and touching… eliciting sympathy in a role that could have been caricatured in less able hands. His missteps communicated an ingratiating, people-pleasing personality, without asking the audience to like him.

Aileen Johnson, DC Theater Arts

“one of the strongest performances comes from the actor who spends the least time onstage… Those halting moments he spends shares with Susan Rhea are the most tear-jerking but also the most sincere.”

Rebecca J. Ritzel, Washington City Paper

“Patrick Joy radiates affecting earnestness and hesitancy. In a quietly intense monologue that voices a letter Jason is sending to the Corbetts, the boy sits very straight on the edge of the stage, looking resolute, vulnerable and a little waifish, his hands folded in his lap; every now and then, his hands break free and flutter helplessly, before he joins them back into a clasp.”

Celia Wren, Washington Post

“As the youngest of the group, Mr. Joy fills the space with an infectious energy that often helps to buoy the show when pacing drags.”

Sam Abney, Broadway World

“…has a monologue about his first time that in Joy’s delivery is achingly beautiful.”

John Stoltenberg, DC Theater Arts

“Patrick Joy… exudes the innocence of a young man who knows what he has to do, but who is as yet untouched by the bloody madness of his clan.”

Andrew Walker White, DC Theater Arts