“Lucy Maunder stands out as the feisty Rizzo, turning in the night’s strongest vocal performance on There Are Worse Things I Could Do” – Sydney Morning Herald
“Lucy Maunder’s Rizzo is a notable exception. She really owns the role of the snarky, cynical leader of the Pink Ladies and her moving rendition of There Are Worse Things I Could Do is an emotional and musical highlight.” – The Sunday Telegraph
“Lucy Maunder’s rendition of There Are Worse Things I Could Do was beautifully tender” – The Age
“Lucy Maunder is in a league of her own with a brittle Rizzo” – Aussietheatre.com
“The best solo of the show belongs to a defiant Lucy Maunder as Rizzo, whose fine vibrato has the measure of There are Worse Things I Could Do” – The Australian
“Lucy Maunder as Rizzo is the highlight of the entire show, grabbing attention as soon as she struts out in her dark sunglasses and by the end delivers a commanding performance of ‘There Are Worse Things I Could Do’.” – Theatrepress.com.au“Lucy Maunder, as Rizzo, had the stand out performance with a soaring voice and great acting and dancing skills.” – onwiththeshow.com.au
Irving Berlin: Songs In the Key of Black
It should be said she’s a good, if not great actor, too; that aspect of her performance is every bit as immaculate as the vocal.
In LM’s hands, we’re touched, deeply, all over again.
That Maunder can carry the inherent difficulties and challenges of this show tune off as effortlessly as she can the heartrending (or heartbreaking) ballads is another feather in her cap.
This proved yet another example of Maunder’s vocal and theatrical versatility: she has immense, endearing, comprehensive capacity to shift the mood and dynamics, while remaining utterly consistent in the clarity and quality of her delivery; she has enviable precision. So much so, her vocal instrument gives the overwhelming impression its utterly failsafe. And this is far from damnation by faint praise. Her diction is superb; phrasing, deeply thoughtful. The last, moreover, enables the most moving interpretations of lyrics, which leave plenty of room to spare for the melodies to work their magic, too.
In the end, while this is a showcase for the swelling talent that is Maunder, generously buoyed by the others herein named, Berlin is the star and, when you think about it, it doesn’t take much memory-jogging to be reminded of his greatness. Inasmuch, Maunder has done Berlin proud and us a great service. The simpatico between Maunder and her musical director (a virtuosic pianist, to boot) is a marriage made in heaven, so let’s hope it lasts longer than most.
Songs In The Key Of Black is a love letter. To Irving, from Lucy.Songs In The Key Of Black | Slide, Sydney Crikey.com.au
It takes a certain indefinable quality to grab your audience and hold them spellbound on the rise and fall of your voice, captivated by the movement of your body and the expression on your face. It’s called star power, and of it you can only say that you know it when you see it. – aussietheatre.com
We are seldom given so fine a chance to appreciate a great singer, a great actress and a great musician as we have been afforded with Lucy Maunder in Songs in the Key of Black. Shimmering into view with her trademark elegance and verve she holds you from the first whispered lines and she doesn’t let you go.Maunder Shines Bright in the Key of Black AussieTheatre.com
Old World Glamour in the Key of Black AussieTheatre.com
Lucy Maunder brings her love of old-world music to Noosa Longweekend Courier Mail
Reasons to Be Pretty
It’s a lovely performance from Andrew Henry and is matched by Lucy Maunder’s Carly, whose sassy minx is gradually revealed as more vulnerable and fragile than she can bear to contemplate. It’s good to see her getting her teeth into a non-singing role and giving such a nuanced performance.
The Threepenny Opera
Fresh from the relative ordinariness of the Russian Revolution and Dr Zhivago, Lucy Maunder taps into Polly’s fount of youth and zealous integrity with wide-eyed ingenuousness and that lovely voice. She represents her ghastly mother’s petit bourgeois aspirations, whether she likes it or not, and makes more than it deserves of the show’s least interesting but vital role of the ingénue.The Threepenny Opera review Stagenoise.com
Maunder is spellbinding, her portrayal of Lara making men’s fascination with her perfectly clear.Theatrepeople.com.au
Rising star Lucy Maunder has a bright beautiful voice, and is charming as Laratheatrepress.com.au
Lucy Maunder (Lara) and Taneel Van Zyl (Tonia) crystallize Zhivago’s romantic dilemma with performances of unearthly beautyThe Age
Lucy Maunder personifies the danger and passion of Lara beautifullySydney Morning Herald
Lucy Maunder (Lara) gives a refreshing and raw performance, her voice has a kind of innocence in its timbre, and you could imagine this voice in a Disney movie. Anthony Warlow (Doctor Zhivago) and Maunder have developed their characters with great depth and generate an intense chemistry onstage. Warlow’s voice truly never disappoints.
Memorable moments were Anthony Warlow and Lucy Maunders duet, performing the signature song “Now” and the incredible duet between Lucy Maunder and Taneel Van Zyl who plays Zhivago’s wife, Tonia. They sing in the Library, where they lament and sense a common link over their love for Doctor ZhivagoDancelife.com.au
Maunder’s Lara is a model of sensual intelligence and her singing is very fine.Sydney Morning Herald
The enigmatic, alluring Lara is brilliantly played by Lucy MaunderArtshub.com.au
The cast, led by Warlow, Lucy Maunder and Taneel Van Zyl, are all in fine voice. The onstage chemistry between the leads as they portray the participants in one of literature’s most famous love triangles was very apparent, even from the back of the theatre.Peterayoung.com.au
Lucy Maunder as Zhivago’s great love Lara, and Martin Crewes as her husband-turned-avenger Pasha Antipov are the breakthrough stars of the show. Maunder is convincing as the woman who has three powerful men in her thrall; and even more, that Zhivago’s wife Tonia comes to understand and accept why….
…In the world of musical theatre the reported budget of $5.5m is chicken feed, (Spiderman has probably spent that in a week and apparently is still a disaster) yet Dr Zhivago is lavish looking, rich in talent and is a night out to remember – if the great sweep of history and grand tragic romance are your thing. And some day soon Maunder and Crewes will be Broadway- or West End-bound.Stagenoise.com.au
And deserving of much praise is the rising star Lucy Maunder as Lara, who captures the heart of Zhivago, perhaps the only weakness to her otherwise strong-willed nature. Maunder is stunning – and can now proudly declare herself one of the leading ladies of Australian musical theatre.It’s a triumph! Zhivago is wonderful AussieTheatre.com
Lucy Maunder is exquisite as Laratimeoutsydney.com.au
Maunder cracks Lara’s complexity and brings her to life, particularly in the duets with Warlow.The Daily Telegraph
Maunder’s presence is everything her character’s should be; always felt.crikey.com.au
Maunder sings most attractively, with a velvety lower register, and works gracefullyThe Australian
A Little Night Music
Lucy Maunder effervesces as the flirtatious, yet sexually reluctant young wife Anne.stagewhispers.com.au
Lucy Maunder shines as AnneSunday Sun Herald
Heathers the Musical
Maunder’s Heather Chandler falls on the other side of the coin: she is the epitome of camp. Her hair is higher than everyone else’s, she has the most fun with her mean commentary, she’s the least human character – more a drag caricature – and her coldness is a scream. It’s a perfect role for Maunder, whose clarion tone is malleable and rings so delightfully with menace here.The Guardian
Amongst all these riches, the show is stolen by Lucy Maunder as Heather Chandler. Maunder was born to play Heather Chandler and her performance is a comedic masterclass — every arched eyebrow and snarky side-eye is executed perfectly.The Daily Review
Lucy Maunder as #1 Heather Chandler had completely tied down and handcuffed her part, which made the audience somewhat sad she had to die. Maunder’s physical comedy paired with Cole’s facial gags made them an on-stage frenemy couple you couldn’t take your eyes off.Broadway World