| Seattle critics raved about Candide at the 5th Avenue Theatre. The entire cast and creative team received great acclaim for this “smart, salacious epic” and “sparkling gem”. Click here to read about Laura’s performance as Cunegonde. |
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“Most remarkable among a cast that is just about the best local musical theater has to offer are Laura Griffith as the Lady of the Lake, who gets to show off an immense range, both vocally and comedically”
Click here to read the full review. “But if there's a scene-stealer, it is the Broadway-belting Laura Griffith as the alluring Lady of the Lake. Composers Idle and John Du Prez fill her songs with musical gags—for example, the impossibly ridiculous big vocal finish to "Diva's Lament"—that just wouldn't work without Griffith's powerful Broadway pipes. Why Griffith has moved to Seattle, I don't know, but audiences here will surely benefit from her decision.”
Click here to read the full review.  “The solid brass lungs of Laura Griffith get a workout in the faux-Andrew Lloyd Weber ballad ‘The Song That Goes Like This.’ (Glad tidings: The first-class pro Griffith has moved here, and we’ll be seeing a lot more of her at the 5th.)”
Click here to read the full review.  “Laura Griffith as Lady of the Lake has the range of Mariah Carey plus, and she brought down the house with ‘The Song That Goes Like This’ ”
Click here to read the full review.  “But it was Laura Griffith,Dane Stokinger and Joshua Carter who completely sold the show for me. Griffith as the Lady of the Lake manages the showy sultriness of the part well and her voice is 10 times more powerful than Excalibur.”
Click here to read the full review.  “Griffith's vocal pyrotechnics are astonishing (outdoing even Broadway's Lady, Sara Ramirez), and used to especially good effect in Act Two's ‘The Diva's Lament’, wherein the Lady bemoans her shrinking role.”
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“Laura Griffith is perfect as the ingénue Lucy Honeychurch. She envelops the young woman on the edge of losing her innocent outlook of life, and the pangs of wanting to enjoy life's passions. Her voice is strong and clear with a beautiful edge, and she brings a presence to this character.”
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“As I said the cast is superb. Griffith and Hobson have stunning voices.”
“...credit is also due to star Laura Griffith's earnest and committed performance”
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“Anchoring the cast is Laura Griffith, whose 5th Avenue credits include The Music Man, Candide, and The Secret Garden, among others. She’s a strong and versatile performer and conveys the right amount of reticence, hesitation, then independence and stubbornness. The story’s on her shoulders, and her arc is believable. She also has one of the best moments in the first act, with a delightful song (accompanied by a cooperative piano) with ‘Ludwig and I’”
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“...the musical’s design and acting are well executed. Griffith belts octaves higher and more powerful than ever before”
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“Laura Griffith (Lucy) and Louis Hobson (George) are accomplished as actors and singers and their chemistry is genuine.”
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“It was something of a perfect storm of talent that occurred inside the Short North Stage last night. Sarna Lapine, the niece of Tony-Award winning author/director James Lapine, is directing the Columbus premier of the Sondheim musical for which her uncle penned the book. She has combined forces with the 2013 Tony Award winning sound designer,Leon Rothenberg, Broadway veteran Laura Griffith (Dot), and local musical tour de force, Matt Clemens (George) to create a show that has so many "points of light" its artistic merit is brilliant as its Chromolume counterpart. Assuming roles previously held by Broadway icons, Bernadette Peters and Mandy Patinkin is no small undertaking, but Clemens and Griffith do so with gusto. Laura Griffith is a visual match, but more impressively, her vocal chops due her predecessor justice as well, even with Sondheim's notoriously tongue-twisting lyrics. While they both have stellar vocals skills, their harmonies on the classic, 'Move On' with take your breath away, thanks also, in part to gorgeous sound execution in an acoustically tough space.”
Click here to read the full review.  “Although the entire 16-person cast is immensely talented and blend very well together, Laura Griffith steals the show. It is in moments like ‘Everyone Loves Louis’ that you get to see her shine both as an actress and as a musician. Her voice will give you chills and move you to tears while her mannerisms and gestures will keep you smiling and laughing for the play’s duration.”
Click here to read the full review.  “... the area premiere is skillful and achingly beautiful...Broadway actress Laura Griffin is ravishing as Dot, the first Seurat’s mistress, and later as Marie, Dot’s daughter.”
Click here to read the full review.  “Glorious, too, describes the Short North Stage production of the 1983 musical, under the direction of Lapine’s niece Sarna Lapine...Laura Griffith makes for an engaging and mischievous Dot, Georges’ model and mistress. Matt Clemens gives George a delicate balance of artistic distance and whimsical engagement. The two blend voices powerfully in Sondheim’s often bittersweet harmonies.”
Click here to read the full review.    “Laura Griffith, another Broadway vet, plays Marion and is not only a superb singer, but a wonderful actress. If you're one of those people who usually checks out during "My White Knight" -- and who can blame you -- then just wait until you feel her sing it. Every note from this woman's mouth is an emotive gift. As an actress, Griffith finally gives Marion her due. Here comes that first Suspension of Disbelief: the whiplash from Marion's switch from loathing to loving Hill. It's surprising how much of a difference it makes when Marion is portrayed as a sharp and brave woman struggling with her (perhaps too strong?) ideas of morality, instead of just calling in as the prickly spinster who decides "Eh, he makes my brother happy so I guess this total stranger is cool." Griffith builds to her change of heart with grace and intelligence. It wouldn't be out of this world to suggest that Griffith's Marion may, in fact, outshine the titular character. Also, she looks stunning in every costume.”
Click here to read the full review.  “He is well matched with Laura Griffith as Marian, whose lilting soprano serves the beautiful Willson ballads 'Goodnight, My Someone,' 'My White Knight' and 'Till There Was You' admirably, but almost more vitally, Griffith really acts the role so that we watch Marian transform slowly but surely from an icy skeptic to a warm-hearted woman who appreciates Hill's transformative effect on River City.”
Click here to read the full review. “Several cast members shine in this production but the real standout is Laura Griffith as Marian. Griffith's voice continues to be in excellent form, as she's proven several times in leading roles at the 5th. She exudes a hardened exterior to cover Marian's inner shyness and we, the audience, are completely aware of when she first lets her guard down. She sings extremely well and when she croons the heartfelt 'My White Knight,' there isn't a soul in the audience who doesn't share in her loneliness and longing.”
Click here to read the full review.  “I’d like to give particular praise to Laura Griffith’s beautiful singing voice accompanied by a strong nuanced portrayal of Marian the librarian. Griffith does an excellent job avoiding the cliche ridden minefield endemic in portraying an ‘old maid’ librarian…..Marian.”
Click here to read the full review.  “Laura Griffith plays librarian Marian Paroo so well she ought to be retained by Willson’s estate to play this role forever until the end of time. Her singing is spine-tingling and her gradual transformation from spiteful to smitten feels like a revelation, even though it’s not new material. She’s the show’s highlight.”
Click here to read the full review.     “The acting is supreme and there isn’t one false note in the whole play. Laura Griffith’s lovely voice as Cinderella keeps belting out strong songs, one after another, even as the tragedies unfold right next to her.”
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 “All performances were first rate, but special kudos to Miriam Laube as Medea and Laura Griffith as Cinderella.”
Click here to read the full review.  “Laura Griffith is a sweetly strong Cinderella.”
Click here to read the full review. “Laura Griffith is charming as Cinderella. She has great vocal chops singing the Rodgers and Hammerstein songs.”
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THE VIEW FROM EUGENE by Suzi Steffen
“Newcomer Laura Griffith is a saucy, smart, frustrated Cinderella.” Click here to read the full review.
  "Holding her own is Laura Griffith, who brings a clever combination of bawdy fire to Mozart’s wife, Constanze. She is delightful to watch during Mozart’s juvenile antics but truly shines when facing the moral complexities of Salieri’s menacing demands."
 "The production never shrinks from the play’s complexity, but it also remains accessible and very entertaining."
"Laura Griffith as Mozart’s wife Constanze Weber is delectably sexy."   "Griffith's sublime rendition of the most famous tune, the killer bel canto aria "Glitter and Be Gay," truly brings down the house."
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"And any actress who can both be funny and knock out 'Glitter and Be Gay'—the showiest of all possible arias—as Laura Griffith does, is a gift from above. I suddenly understood why the production went for the '50s look: so Griffith would look fabulous in this scene, like a brunette Grace Kelly in a vintage Dior ad."
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 "The show is carried, however, by the perfectly pitched central performances of Stanley Bahorek as Candide and Laura Griffith as Cunegonde... Griffith grows her Cunegonde from flippant, spoiled schoolgirl to weary old whore, and brings down the house with her performance of Bernstein's celebrated aria 'Glitter and Be Gay.' The pair also ignite their duets 'Oh Happy Pair' and 'You Were Dead, You Know.'"
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 "Laura Griffith turns in the show’s standout performance singing Cunegonde’s aria “Glitter and Be Gay” with ease—like hitting four high-E flats is the aural equivalent of running out to get coffee. She’s outstanding, and reason enough to see the show."
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 "...hands down favorite in this production is Laura Griffith as Cunegonde. She flawlessly displays the full range of her lovely soprano voice, and her presence lights up the stage."
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"And an equal to match him was the incredible Griffith as his love Cunegonde. She is wielding one of the clearest most beautiful soprano voices out there complete with an incredible comic timing. Her rendition of 'Glitter and Be Gay' practically brought the house down."
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   LOS ANGELES TIMES : Theatre Review 'The 25th Annual Putnam County Spelling Bee' at La Mirada Theatre "Portraying actual adults, trumpet-voiced Laura Griffith is fetching as the onetime competitor who now administers the bee." Click here to read the full review.   THE ORANGE COUNTY REGISTER : 'Putnam County Spelling Bee' a hot seat for young spellers "All nine cast members are quadruple threats who can sing, dance, act and display sharp comic timing." Click here to read the full review.   TALKIN' BROADWAY (SEATTLE) : Seven Brides for Seven Brothers "Even better, and a world of an improvement from the trilling soprano of the film's Jane Powell, is the feisty, sassy and golden voiced Laura Griffith as Adam's force to be reckoned with bride Milly. Able to caress a ballad tenderly, or belt one out of the barnyard, Griffith, a young New York vet, is the heart of the show. " Click here to read the full review. |
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