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Hoben's edgy sense of humor weaves the play's contrasting elements — hilarity, raw emotion, graphic detail, darker fears — into a consistent whole.

It is impossible not to like writer/performer Ginna Hoben's salty–perky stage persona.
(No Spring Chicken, 2015)
— Jane Horwitz, The Washington Post
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Ginna Hoben is a combination of Amy Poehler, Ellen Degeneres, Tina Fey, a sprinkle of Julia Louis–Dreyfus, and, most of all, a whole lot of original energy that makes you want her to be your new best friend. In fact, that is what the show feels like – your wittiest and most hilarious friend telling you the story of her pregnancy...

Hoben's natural delivery and comedic charm make this less of a performance and more of a conversation. (No Spring Chicken, 2015)
— Caroline Simpson, DC Metro Theatre Arts
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Ginna Hoben (Rosalind) brings determined comic resistance to an inexorable pull to the limelight. (Moon Over Buffalo, 2014)
— Kim Merrill, Cape May Star and Wave

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Hoben relates it all with an engaging, sisterly rapport. She expertly gives distinctive comic voice to several of Mary’s hovering family members, including her eager mother, her perky and newly engaged sister, “Exercise Sally,” and her meddlesome aunt, as well as others she encounters along the way. (The 12 Dates of Christmas, 2012)
— Jay Weitz, Columbus Alive

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Ginna Hoben performs her one-woman script with grace, ease, and passion. . . Her detailed portrayal of various characters she encounters simply come to life, from her mouse-like mother, to crazy Aunt Cathy, to the strong, superhero Dr. Hogan, to name just a few.

Hoben brings the audience right in, confiding the awkward, adorable, and embarrassing stories to her friends, the audience. (Her) performance as writer and actress really takes the audience on an adventure into fictional reality. (The 12 Dates of Christmas, 2012)
— Lisa Mulch, Columbus Underground

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Ginna Hoben, playwright, took a series of semi-autobiographical events and wove them into a 75-minute, one-woman show about life, love and the pursuit of meaningful relationships during the holidays. Ginna Hoben, humorist, honed it to a quirky, sometimes profanity-laced edge designed to resonate with any woman who’s ever been on a date or had her heart pulverized. And finally, Ginna Hoben, actress, got up on the Blackfriars Playhouse stage, put her talent and creative vision on the line and earned for herself yet a fourth title — Ginna Hoben, success. For “The Twelve Dates of Christmas” is just that, and so is its creator. (The 12 Dates of Christmas, 2012)
— Charles Culbertson, Staunton News Leader

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(In)Jim Warren’s knockabout staging of “Rosencrantz and Guildenstern Are Dead,” .... The title roles are played not by two men but by a man and a woman, Rick Blunt and Ginna Hoben, who act in the broad, unselfconsciously vulgar manner of Shakespearean clowns. This proves to be a shrewd touch... The acting is engagingly casual, the staging fast and furious. (Rosencrantz and Guildenstern are Dead)
— Terry Teachout, The Wall Street Journal

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… the character (Helena) is delightfully portrayed by the lovely Ginna Hoben. Her performance is captivating, and she adeptly marginalizes Helena's misguided romantic goals by conveying the character's determination and resourcefulness. (All’s Well That Ends Well)
— Charles Culbertson, Staunton News Leader

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As Atalanta... Hoben truly wears her heart on her sleeve allowing her emotions to play over not only her face, but her entire body. She has a beautiful voice that fully commands her space and enriches the text. (pierced!)
— Amy Heath Bell, nytheatre.com

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…one actress clearly stole the show. Ginna Hoben, who played Katherine, the shrew, gave a memorable performance… From the moment she walked on stage she demanded attention and stole the show with quick humor… (The Taming of the Shrew)
— The Bell Ringer, Augusta, GA

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Bright, funny, sexy, (Ginna) easily assumes the voices and mannerisms of a dozen or so characters and –incredibly- makes us forget that there is only one woman on stage. While Hoben is an accomplished performer in other people’s plays, she’s masterful in this, her own creation. (The 12 Dates of Christmas)
— Charles Culbertson, Staunton News Leader

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Ginna Hoben plays (The Ghost of Christmas) Past as though she's part drill sergeant and part fairy godmother (A Christmas Carol)
— Cliff Garstang, www.perpetualfolly.blogspot.com

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Most amazing about this production was (Ginna Hoben’s) ability to inject so much energy into Guildenstern's musings on topics ranging from the law of probability to the existence of unicorns. She effectively conveyed the demeanor of a man determined to cling to logic in the face of absurdity, making Guildenstern's final resignation to his death all the more powerful. (Rosencrantz and Guildenstern Are Dead)
— The Greyhound, Baltimore, MD