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REVIEWS
Sleeping Beauty Wakes - (March 31 - May
13, 2007) In
a production so relentlessly demanding of the highest levels of performing
virtuosity and producing coordination, there can be no single star
but only an entire galaxy...Erika Amato [is] beautiful
and silvery-voiced. [Deanne]
Bray dominates the stage in the Bad Fairy's rockin' evil number, "Uninvited";... Of course, it certainly doesn't hurt that Erika Amato
is powering her way through the Bad Fairy's "Uninvited"
on the vocals... It is when Sleeping Beauty Wakes combines a solid character-driven
song with a stellar signed performance and a complementary vocal that
this show really hits the heights. There
is something magical afoot at the Kirk Douglas Theatre as a wondrously
imaginative collaboration between Deaf West Theatre and the Center
Theatre Group is making a World Premiere in the form of Sleeping
Beauty Wakes, a New Musical Fable. When last together,
both Deaf West and CTG delivered a multiple Tony Award-winning revival
of Big River, and if their current efforts make a well-deserved
move to Broadway, there is sure to be a wealth of accolades... Truly the diva of the show, Bray's
"voice" is further brought to life by the sinfully fun singing
of Erika Amato... With near futuristic instruments in
hand, Vigoda and Milburn deliver a mesmerizing musical interpretation, [including] a rock-infused
bitchfest with the Bad Fairy's "Uninvited." If any musical
deserved a cast recording, Beauty Wakes is just the one to
be immortalized with an album pressing. Anything
Goes - (September 29 - November 12, 2006) "From
the moment Erika Amato (playing the glamorous nightclub singer
Reno Sweeney) belted out her first song, I knew we were in for a great
show. Her commanding presence and angelically bold voice gripped the
audience, leaving them begging for more, which she obliged numerous
times throughout the two-hour performance... Amato sang like
she was singing to a packed crowd at one of the top theaters on Broadway.
Equally astonishing in his performance [was] newcomer Jason Webb (playing
the charming Billy Crocker)... Amato and Webb shone brightly
and definitely stole the show..." "The
Candlelight Pavilion's production of “Anything Goes” is
really well done. The Bollinger's do not skimp on the sets, which
are well-crafted and stylish. Nor do the people who run this theater
hire just anyone for their productions. In this current production,
directed by Douglas Austin, the role of Reno Sweeney is played by
Erika Amato, who performs her role superbly. Her singing is
exceptionally strong..." "Among
the female show-stoppers is Erika Amato as the aging ingenue,
Dorothy.... Amato's rich, low voice throbs with feeling..." "Erika
Amato's big smoky voice makes her haughty diva Dorothy Brock a
standout in such songs as "Shadow Waltz." "Rich-
and full-voiced Erika Amato is excellent as the egocentric
diva du jour, the star of the Broadway musical who falls, breaks her
ankle and is incapacitated just before the opening... If you haven’t
been to the Welk in some time, this is the one to watch. A delicious
treat from start to finish." -- PAT LAUNER, San Diego Theatre
Scene "...some
fine casting makes for one of the Welk's better efforts in some time...Erika
Amato makes Dorothy Brock a dour diva adept at torchy laments..."
-- JEFF SMITH, San Diego Weekly Reader "Outstanding
support is offered by David Jennings (as Ben's sidekick Ulysses),
Rob Kahn (as angry Bull), Steven Hack (as merchant Salem), Robert
Alan Clink (as saloonkeeper Jake), Erika Amato (as Madame Cherry),
and Sharon Lawrence as once actress Lily Smith." The
Bungler - (May 28th through July 25th, 2004) "...this
company makes you believe the playwright wrote the script just to
let actors practice their comic timing without distraction from his
typical lessons about conscience and tolerance. It’s a gift this
cast deserves: Spencer’s Célie is sweet but never cloying;
her adversary, Hippolyte (Erika Amato), is biting but not shrewish;
and the standard effete old men, Anselme (Dan Alemshah), Lederman’s
Trufaldin and Marz’s Pandolfe, are the kind of perfectly tuned
caricatures of the pre-Revolutionary French elite that would thrill
the playwright himself." "...Along
the way we are entertained by the delightful cast, including the likeable
and effervescent Dan Alemshah as the foppish Anselme, beautifully
charming CB Spencer as Celie, the inspired comedic performance of
Erika Amato as the desperately lonely Hippolyte and a solid
performance by Alex Kaufman as the dashing young Leandre, in what
otherwise might have been a throwaway role." "Erika
Amato makes the most of her amusing role as a haughty prima donna,
and Tracy Warren lends some welcome warmth to the shallow text as
George's supportive second wife...When the cast members sang "I
Want to Hear a Yankee Doodle Tune," the thunderous applause confirmed
the crowd's wholehearted agreement." --LES SPINDLE, Backstage
West Madly
In Love - (Oct. 16 through Nov. 23, 2003) "Walters
and Amato both bring style and charm to the endeavor, not to
mention lovely voices." --TERRY MORGAN, LA Weekly "Of
this motley crew only the Windsors ring true. Modeled on real characters,
as opposed to fictional ones, Erika Amato and Bubba Dean Rambo
bring flesh and blood to these world-weary spirits. As Wallis Simpson,
Amato does a manic Charleston and bemoans the fact that she
"gave up freedom and youth" for "a present to grow
stale in." As her impeccably tailored consort, Rambo waits for
'something to happen.' In the meantime, they dance, very well indeed…The
smirking Duchess of Windsor (Amato) is especially adroit, and
her befuddled Duke is a likeable and believable partner…"
-- CYNTHIA CITRON, Beverly Hills Outlook "The
female leads in this production are pitch-perfect. Amato, Lanzarone
and Ceporius capture the particular drives of their characters. Amato
yearns for respect and honesty…the women surrounding this Guido
are complicated and believable. …This show features some great
female performances…and that's a win by any measure." --
JOEL BEERS, Orange County Weekly "The
women in the cast appealingly bring their characters to life. Erika
Amato, as loyal, loving, disgusted wife Luisa, has a lovely voice
and an intense presence."
--JOSEPH
SIROTA,
curtainup.com "Space
prevents a full listing of all 'Nine's' treasures. But I must note
that the voices were fantastic [and] the acting showed depth…
Among my favorites: Amato, strong and at the same time vulnerable…
For all the talent, singing, sex, lies and vino bianco - I have just
one question: With a cast packed with perfect 10's, why do they still
insist on calling the show 'Nine?'" -- CHRIS CRESON, Fullerton
News Tribune The Sound Of Music
- (August 1 - 18, 2002) "'Music'
Has Seldom Sounded So Sweet Maria
Rainer, the lead role of Rodgers & Hammerstein's "Sound of
Music," has been played by everyone from Mary Martin to Debby
Boone - and, in the famed 1965 film version, Julie Andrews - so the
casting of this role is crucial to the success of any revival of the
1959 musical. That's
why praise is due for Sheryl Donchey, director of Saddleback Civic
Light Opera's new staging at the McKinney Theatre in Mission Viejo,
and for Beth Hansen, the troupe's casting director. Their selection
of Erika Amato as Maria is a masterstroke. Amato's
combination of textured vocal work and layered acting make this "Sound
of Music" a pleasing experience. Alongside the actress, Donchey
has cast fellow Equity actor Steven Connor as the imperious Captain
Georg von Trapp. His portrayal may not be equal to that of Amato,
but it doesn't have to be to succeed. Throw
in distinctive work from the seven youngsters...a solid supporting
cast and Diane King Vann's sure-handed musical direction, and you've
got a "Sound of Music" for the memory books - definitely
one of the best SCLO productions in quite a few years. ...Maria's
philosophy is to throw herself into life headlong, show affection
for all in your path, and trust in fate. Amato takes this same
tack in portraying Maria, displaying the character's traits both overtly
and subtly. Her Maria isn't afraid to defy the captain's icy grip
on order. With admirable vocal control, she's commanding in signature
numbers such as "The Lonely Goatheard" and "Do Re Mi,"
only two songs in which Amato's style presents a welcome hint
of Andrews' more familiar inflections. Amato's
soaring yet low soprano carries Maria's several numbers with the children..."
--
ERIC MARCHESE, Orange County Register |
Erika Amato