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CRITICAL ACCLAIM FOR LILLI MARLENE
Daphne, an Indiana housewife; Rose, a British music hall artiste; and Lilli, a German diva -- friends from student days at the Vienna Academy of Music -- correspond throughout the Second World War and sing the wartime tunes of their respective countries. Such is the conceit of Kathryn RyanŐs one-act piece. All are played by classically trained mezzo Linn Maxwell.
Projecting down-to-earth Yankee directness in the first role, Vera Lynn-like fortitude in the second, and Teutonic charm and implacability in the third, the statuesque redhead nails the accents and delivers her dialogue with commendable clarity. And she segues neatly from "It Had to Be You" to "Keep the Home Fires Burning" to "Solomon Song" in requisite style, accompanied by ace musical director Paul Trueblood. Maxwell's musical pedigree comes to the fore with a full- blown Das Rheingold excerpt. Read Full Review
--Harry Forbes, Back Stage
In her one-woman play, Lilli Marlene, mezzo-soprano Linn Maxwell examines the disparate feelings of loneliness, optimism, grief and spirit of an iconic era almost 70 years ago. The songs of World War II, performed in the Abingdon Theatre, illustrate the story of war and women with straightforward simplicity and focus. . .
Linn Maxwell, looking like a combination of Arianna Huffington and Tierney Sutton with her long red hair, is a winning presence on the off-Broadway stage. She. . . plays all three women with a natural finesse [and] has a keen ear for accents and a facility to subtly shift facial and body expressions with the different personalities. Her voice is expressive and she shadows the songs with sensitivity. She views her three characters with understanding and sympathy, strengthening the story by respecting its simplicity and its songs. . .
All emotional upheavals, leave detritus in their wake, and the three women have seen their lives change and now face new directions. Interestingly, this World War II collection of popular music still says it all, and Linn Maxwell delivers their span of emotions with intelligence and empathy. Read or Download Full Review
--Elizabeth Ahlfors, CabaretScenes.org
Performers love their party pieces, but too many solo turns are no more than exercises in unbridled narcissism. Lilli Marlene, the musical party piece KathrynRyan wrote for songbird Linn Maxwell, avoids that egotistic trap and scores points for its spirit of generosity. By wrapping itself around 18 popular songs written during World War II, Maxwell's solo show gives musical voice to the thoughts of three friends who are anxiously waiting out the war in three cities -- London, Berlin and a backwater burg in Indiana. Their only connection is these sad songs of love and war.
Although the three women played by Maxwell inhabit distinct worlds, they share the stage comfortably on Lana Fritz's modest set, artfully decorated with period props.
Maxwell is an accomplished singer with a distinguished career in opera and musical theater. The songs she has chosen for this well articulated song cycle never feel forced into the service of a dramatic moment. . . In what may be the best performed song in the show, Maxwell executes a fierce version of the immortal "Solomon Song," written by Kurt Weill and Bertolt Brecht. Read Full Review
--Marilyn Stasio, Variety
Linn Maxwell transforms herself seamlessly into each of these characters through mannerisms, accents and song. Some of the songs are obscure and others are very familiar to the audience. . . Ms. Maxwell, well trained in opera companies, delivered each song with articulation and a powerful voice. . . The concept of exploring three separate lives, all living through the consequences of the same war, proved to be an intriguing and interesting premise. The small theater, low lighting and close proximity to the artist allowed an unusual intimacy that added to the experience.
--Janet Pope, CelebrityCafe.com
Maxwell is an engaging performer, and her embodiment of the three women is well-realized, as she switches from one to the other with only minor costume adjustments. Her phrasing and understanding of the music is mightily impressive. . . [T]he Wagner, which she belts from the rafters. . . show[s] off her voice to its best advantage.
--Duncan Pflaster, BroadwayWorld.com
Maxwell. . . has a beautiful and highly trained voice. She executes her transitions seamlessly. Her accent and bearing never falter.
--Paulanne Simmons, CurtainUp.com
I know the 1940 song is "A Nightingale Sang in Berkeley Square," but when Linn Maxwell sang that number during her one-woman show, Lilli Marlene. . . she had the light, delicate touch of that famous songbird.
Maxwell has blended a bit of her opera training with cabaret sass and theatrical emotion to create a show that's entertaining and inspiring. Her voice can rise to the heights of a Wagner opera, or she can bite off the words of "It Had to Be You" like a frustrated wife or be playfully "Mad About the Boy" with a British accent. . .
This is a very ambitious show covering about eight years (1937-1945) and three countries in 20 songs. But it's also a very satisfying piece, with a blend of familiar songs, a few less-well-known numbers and just enough humor.
--Sue Merrell, The Grand Rapids Press
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