•   LA Weekly
In her meticulously crafted monodrama, writer-performer Kathrine Bates re-examines Lucrezia Borgia's notorious reputation for female malevolence to discover a woman more sinned against than sinning . . .  caught in an incestuous web of love and hate… Bates, juggling 12 colorful principal characters, deftly brings them all to life, revealing their amorous and political alliances by playing them out on a chessboard . . . Bates' mercurial performance becomes a shattering litany of grief, with the sweep and passion of Shakespearean tragedy. She also serves ably as her own production designer
 
•   LA TIMES
. . . EVIL LEGACY takes a revisionist look at arguably the most notorious woman in history… under Lange's assured direction, Bates turns in an elegant performance, ably handling several different voices and dialects as she charts Lucrezia's progression from liveliness to disillusionment… exposition is intelligently handled… besides being a juicy retrospective of the Renaissance, rich with dropped names and scandal, it is also a portrait of a woman without options, one who has been unjustly demonized by history
 
•   BACKSTAGE WEST/DRAMA-LOGUE
Bates presents a woman who is innocent yet yielding, able to hold her own but generally unable to prevent disaster from befalling others… her speeches are delivered with careful inflection and innuendo… moments when she is surrounded in darkness provide the most visually forceful impressions of a fascinating woman ringed in by extinguished passion, grief, and centuries of condemnation fueled by rumor and fragmented testimony
 
•   SOUTH EL MONTE NEWS
. . . the two-act show provides insight into the life of a woman whose fate and reputation was orchestrated by men and who, throughout history, has been symbolized as evil . . . Bates brings her considerable talents to play, using traditional stage techniques, such as visual placement and tonal inflection to play the part not only of Borgia, but many other characters, as well . . . some audience members were brought to tears when, at the show's conclusion, Borgia herself came to realize that no matter what good she did, she would never be able to overshadow the acts committed by her family . . .