Actor.
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Current Headshot | Photo Rachel Hadiashar
“Miles…elevates denial into an art form.” (Broadway World)
Fronteriza | PETE | Photo Owen Carey
Cristi Miles… balances her ferocity with a shimmering calm in her romantic scenes with her lover (Oregon Arts Watch)
Current Headshot | Photo Rachel Hadiashar
The Cherry Orchard | PETE | Photo Owen Carey
Cristi Miles is equally convincing in her consistently mild-mannered evasiveness. And when she succumbs to emotion, she really sells it… her crying feels genuine. It’s always refreshing when an actor can throw vanity aside, in favor of a realistic crumple-faced cry. (Portland Monthly)
“BECKETT WOMEN starts with "Not I," a monologue in which the theatre is pitch black except for a single spotlight on a woman's mouth. The mouth (belonging to Cristi Miles, who does most of the heavy lifting in the show) speaks frantically, sometimes barely intelligibly, going over and over certain experiences she's had in her ~70 years, looking for clues as to why God is punishing her, or if that's indeed what's happening. As a standalone piece, this one was my favorite.” (Broadway World)
Three Sisters | PETE | Photo Owen Carey
“Miles…give(s) performances suffused with soul and pain” (Willamette Week)
A two-actor play is very dependent on its cast, who are onstage nonstop for nearly two hours, the director has chosen well. Cristi Miles making Helena a modern woman with a professional career yet no idea what to do with her personal life. Miles does a great job at playing the various hoodlums in Bob's life. (Broadway World)