MALLORY NEWBROUGH:
FROM BOWLES TO BOCA'S BELLE & BEYOND
News & Reviews
WHY WE GO TO THE THEATRE
by Robin Alexander
"There was not one flick of a wrist or ankle, not one tremulous or brazen note, not one side-long glance, pout, push or Soph joke that wasn’t perfection...
...I left the theater not only in awe of her talent, I left in awe of her matchless magnanimous life force."
“The surprise of the evening, however, is Mallory Newbrough's portrayal of Janis Joplin. Her appearance, her mannerisms, and her raw emotional connection to the songs are paired with a spot on vocal imitation that is uncanny. Newbrough's focus and commitment to the character and the moment, in addition to the song, are remarkable. It is hard to imagine anyone getting closer to capturing Joplin.”
“And then, and then, Mallory Newbrough gets the only three-song solo spotlight – which she deserves — She not only conjures Joplin’s gutsy sound wrenched from deep in her diaphragm but Joplin’s anguish on behalf of every woman in a troubled relationship.”
“Mallory Newbrough is awesome as the edgy Marta. While she sings "Another Hundred People" well, it's her scene work that is outstanding. She builds an interesting, artsy, anti-establishment character that is refreshingly different. “
“And Mallory Newbrough – unrecognizable as Belle in Beauty and the Beast last month and Janis Joplin in last spring’s Beehive – embodies a downtown club enthusiast voraciously embracing every cranny of urban life as she trumpets the superb paean “Another Hundred People.”
“Mallory Newbrough, proves herself a talented and versatile actress with her performance as Belle. The role sits well in her voice, and she truly acts every moment in her songs...She has the perfect physicality for this non-traditional Disney Princess. She is graceful without being coy or submissive, and deftly conveys the conflict and growth of Belle as she falls in love with the Beast.”
“Walt Disney should hire Wick Theatre actress Mallory Newbrough as their official Belle. When Mallory sings her voice sounds exactly how you would think a Disney Princess should sound.”
“Swelling furiously alongside Richards is the comedic ferocity of Mallory Newbrough (a sort of southern Gothic Lucille Ball) as love interest. It is for whom this southern belle tolls that drives the plot, both sides of Richards rolling around her for their own devices, and Newbrough plays both sides off smartly.”
“Sally Bowles was incredibly played by Mallory Newbrough. Her English accent was steady, she made great character choices, and had wonderful facial expressions. Her vocals were beautiful both in her rich lower range and light higher range. When she belted her heart out in “Cabaret” in act two the audience erupted in applause. It was emotionally raw as if she was saving some of her power for that number and it certainly paid off.”
BEST ACTRESS
Mallory Newbrough, “Little Shop of Horrors,” MNM Productions
As Audrey, the daft, buxom love interest to the klutzy Seymour, Ms. Newbrough stepped into a part occupied by countless forbears, in a show whose ubiquity stretches from middle schools to Broadway. But this triple-threat newcomer to South Florida theater managed to personalize this chestnut of a character. While the chipmunk squeak of her voice left us in stitches, she played Audrey’s domestic-abuse victimhood with the gravity it deserved. She sang “Somewhere That’s Green” with a longing we hadn’t heard before, as equal parts aspirational dream and cry for help.
“One student who wants to avoid Zanna’s love spells is Kate, expertly played Mallory Newbrough who brings an intensity and vulnerability to overachiever Kate who would rather study than date... Newbrough is quickly becoming well known for her lovely voice and acting chops, as well as being a chameleon of an actress.
And I can’t say enough about Mallory Newbrough’s pair of scene-stealing performances, which is saying a lot given this cast of talented musical thieves. As Presley’s girlfriend Dyanne, a sultry jazz singer in her own right, Newbrough all but peels the paint off the walls of Kimberly Wick’s beautiful period set with her scorching performances of “Fever” and “I Hear You Knocking.”
