Rosemary George Returns to Leicester Square with her New Broadway/Jazz Show

Rosemary George singing “Send in the Clowns” at Leicester Square Theatre.

Sondheim the magazine (London, November 2015)

“Another American in town over the summer, but of a different vintage, was Rosemary George.  Some members will remember her from the Sondheim/Gershwin workshop called The Singer and the Song she did at Covent Garden’s Theatre Museum a few years back.

“She adores Sondheim and devoted most of her second set to the great man’s work in her two-week Leicester Square Theatre residency.  Before performing it beautifully herself, she recalled that watching Judi Dench sing ‘Send in the Clowns’ at the National in 1996 was the most unforgettable musical theatre experience of her life.

“Witty anecdotes are not her style but the lady can certainly sing.  Her ‘I Remember Sky’ and ‘Our Time’ were exemplary.”

—On the Town, Jeremy Chapman’s regular cabaret column

Click here to download Rosemary George’s Electronic Press Kit.

“She sparkles with her fine-tuned approach to rendering Broadway show tunes and jazz standards honed by a lifetime of classical training and international performances.”
Down Stage Pass, “Another Magical Evening,” New York, 2015

“Rosemary George has got the right to sing the blues… Though surely with that voice, Ms. George has got the right maybe even the obligation to sweet holler down a boat load of blues.”
—Pacifica Tribune, “Flirting with the Blues,” San Francisco, 2002

“…her stance beneath the show time lights was defined elegance from head to toe. It was not just the sophistication of her floor length gown or the smartness of her evening opera gloves; no it was more than all of that. It was the obvious promise of an understood lyric. She had it in her eyes and when she opened her mouth to sing, she had it in her song. Fill up the glass and light up the candles, Ms. Rosemary George is going to set you on a slide, a vocal ride of sass-back impeccable song.”
—Pacifica Tribune, “Flirting with the Blues,” San Francisco, 2002

“From the start Ms. George makes several things clear; she’s got diction and she’s not afraid to use it, she’s got power but she’s going to hold it down (some) and land sakes if she doesn’t have a voice that is just plain pretty. Oh, her voice can torch, chant, rhapsodize and undoubtedly coloratura.”
—Pacifica Tribune, “Flirting with the Blues,” San Francisco, 2002

“Rosemary George’s traversal of Island Magic from “Trouble in Tahiti” was a riot. Anchored to a microphone, she sang with gusto, acted and danced as if she had a whole stage.”
—The Star Ledger, Festival of American Music Theater, 1998

“Hers is a beautiful voice… This singer’s stamp and style are in themselves impeccable.”
—The Scotsman, Edinburgh Festival Fringe, 1996

“It proves that highly schooled singers such as Ms. George can relax into stylish show tunes… giving us moments of afternoon delight.”
—The Stage, London, Peter Hepple, Edinburgh Festival Fringe, 1996

“Rosemary George’s Carmen was every bit as seductive as Bizet would have wanted.”
—Columbia Artist’s Community Concert Tours, 1995

“Rosemary George was cute and perky in her rendition of “I’ll Take Manhattan” with Michael Hume.”
—The Star Ledger, Festival of American Music Theater, 1995

“Rosemary George was the real gem of the group. Her range was awesome and she was clearly at home in any musical setting.”
—The Natchez Mississippi Democrat, Columbia Artist’s Community Concert Series, 1993

“Most captivating among the vocalists was the bright, harmonious and perfectly blended Three Ladies sung by Sylvia Hummell, Carol Gellert and Rosemary George.”
—The Boston Globe, “Magic Flute”, New Hampshire Musical Festival, 1987

“Rosemary George displayed a pure soprano and admirable technical security… The quality of her voice and intonation made Debussy’s “Fetes Galantes II” especially telling, but she created equally persuasive vocal colors for songs by Nin, Beethoven, Prokofiev and Rossini.”
—The New York Times, Peter G. Davis, 1981

“This listener was particularly attracted by Rosemary George’s lilting and intelligent way with one of the score’s most magical interludes, “Hither, this way” in which the soprano and chorus engaged in a deliciously stealthy dialogue that put one in mind of “A Midsummer Night’s Dream” or “Iolanthe.”
—The New York Times, Donal Henahan, “King Arthur”, the 92nd Street Y Chorale/Orchestra, 1981

”…singers sang in a fresh, forthright, unfancified way that was most taking… Rosemary George must have special mention.”
—The New Yorker Magazine, Andrew Porter,“King Arthur”, 1981

“…her charming and vivacious personality enlivened the singing.”
—The New York Times, John Rockwell, Carnegie Recital Hall debut, 1979




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