Sarah Consentino

reviews

She Loves Me
"Ms. Consentino’s silvery tones have fluttered in from a Kern operetta (the closing bars of “Ice Cream” are given an amusing Wagnerian spin); thrice, now, have I seen Ms. Consentino, onstage, and each ensemble has caught the proverbial lightning in a bottle --- if she is not a rabbit’s foot, then who is?" —Carl A. Rossi, Theater Mirror Full review

Urinetown: The Musical
"A few years back, Consentino gave a remarkable rendition of "Jonah Man" in the Vokes production of Tintypes, but that show only hinted at her ability. In Urinetown, Consentino's character seems to switch without effort from a Barbara Cook ingenue voice to an Aretha Franklin voice belting out "Run Freedom Run" as though her afterlife depended on it. In their singing ability, theatrical physicality and mobile, expressive faces, Consentino and Hodder are an inspired match." —Caroline Burlingham Ellis, The Wayland Town Crier Full review

"The character Hope must evolve from mock-ingenue to boardroom dominatrix with charm as her main ingredient and Sarah Consentino achieves this sweetly but never cloys." —Carl A. Rossi, Theater Mirror Full review

The Shape of Things
"Sarah Consentino is wonderful as the sympathetic Jenny, who puts up with Phillip's chauvinistic behavior. Her eventual admiration for Adam and sexual attraction to him are handled beautifully as is the angry confrontation scene with Evelyn. Sarah gives the show its humanistic side." —Tony Annicone, Theater Mirror Full review

The Second Annual Shakespeare Sonnet-thon
"Sarah Consentino, who’s portrayed Eva Peron in Turtle Lane Playhouse’s Evita, sang #15, a presentation for which the stars in secret influence can have had nothing but good comment." —Jeffrey Gantz, Boston Phoenix

"Several sonnets were sung in improvisation, the loveliest being Sarah Consentino’s No. 15." —Carl A. Rossi, Theater Mirror Full review

Evita
"One can feel Sarah Consentino as Eva Duarte Peron grow from a wily, ambitious chorus girl into a seductive and commanding first lady, who has convinced herself of her own lies. Consentino has a beautiful voice and sings the memorable 'Don't Cry for Me, Argentina' with tremendous feeling and poignancy." —David Brooks Andrews, Metrowest Daily News Full review

"Consentino moves effortlessly from provocative nymph to confidant siren and just as easily from operatic voice to belt range." —Beverly Creasey, Theater Mirror Full review

Nunsense 2
"A truly lame plot is, thank the Lord, buoyed by a powerhouse performance from Sarah Consentino, who gets to show off her extraordinary vocal range (belt and coluratura!) and her sizeable funny bone, not to mention her grand jete." —Beverly Creasey, Theater Mirror

Tintypes
"'Jonah Man' [is] a hard-luck tale powerfully delivered by Sarah Consentino." —Caroline Burlingham Ellis, The Wayland Town Crier

The Wiz
"Consentino, in particular, displays a versatility of voice that is unrivaled; the styles she sings in range from low, throaty blues to high, bright pop, and include everything in between. It seems that in this performance alone, she has proven that she can sing nearly any role she chooses."—Marissa J. Dixon, Theater Mirror

The Scarlet Letter: A New Musical
"Sarah Consentino . . . has an exceptionally expressive voice." —Anne Marie Donahue, Boston Phoenix

"In her red harlequin dress, Consentino...[turned] her essentially legit voice into a steely weapon." —Ellen Pfeifer, Boston Globe

Little Shop of Horrors
"The thoroughly endearing Audrey, a blonde bimbo with a good heart, is portrayed with touching vulnerability and a voice that's a grabber by Sarah Consentino . . . She shines as a vocalist, and she let the soft center of this seemingly tough chick shine through." —Ellen Brams, The Patriot Ledger