REVIEWS
GYPSY
St James Theatre and Marriott Marquis Theatre
Broadway
“It’s the title character, not Rose, that “Gypsy” asks the audience to root for, and the lovely Ms MOORE, who steadily blossoms from a forgotten child to a self possessed star, makes it easy to do so. “[In] All I Need Is The Girl”, it is heartbreaking to watch the forlorn Ms MOORE act out her own doomed romantic fantasy in the shadows of an alleyway stage door.”
— Frank Rich, The New York Times
“But by far the most impressive transformation is the one effected by CRISTA MOORE, who, in the title role, drives it as if it were the vehicle it’s not. By dint of sheer intelligence and charisma, Miss MOORE keeps our interest in the dutiful, neglected, self effacing Louise alive until, seamlessly and authoritatively, she steps into (and out of) her own.”
— Mimi Kramer, The New Yorker
“CRISTA MOORE is a heartbreaker as Louise, the neglected daughter who gets Roses message that she is neither talented nor pretty. Her transformation to the mantle of Gypsy Rose is a stunner in that celebrated montage ascent to burlesque stardom.”
— Hap Erstein, The Washington Post
“CRISTA MOORE as Louise runs the gamut from self abnegating duckling to dazzling swan with seamless perfection. She is the first performer to justify the show’s title being not ‘Rose,’ but ‘Gypsy.’”
— John Simon, New York Magazine
“A FEW MAGICAL MOMENTS ONSTAGE
Sweeney may lose his soul, but in “Gypsy” at the St James Theatre, CRISTA MOORE plays a young woman who discovers that she has one, and that it doesn’t belong to her overbearing mother. As Louise, the young heroine, Ms MOORE undergoes the most public coming-of-age imaginable. She changes from a girl to a woman on stage, while performing a striptease. Louise has been a gawky show-biz kid who takes to the stage as if it was forced labor, wearing a series of humiliating costumes. Louise never thinks to question her status as the unfavored child. Her mother, Rose, sees her as little more than a prop in an act that stars her sister, Baby June. But backstage at a burlesque house, when management needs a stripper in a hurry, Louise finally puts on a dress–and it’s a sexy one. She peers in a mirror and sees a statuesque woman standing there. Disoriented, she makes a stumbling stage entrance. Her mother yells some instructions to her. About to founder, Louise peers out into the house and sees someone looking back at her appreciatively. He seems to see the statuesque woman, too. Only then does Ms MOORE let us see Louise connect with the woman in the mirror. She relinquishes that fearful, harmed expression we’ve come to know. In her first joyous smile of the evening Louise reinvents herself.”
— Laurie Winer, The New York Times, Arts
“The whole story depends on Crista’s Act Two transition from a very young girl to a woman. And in my opinion, she is the first person who’s ever brought it off completely.”
— Arthur Laurents, Us Magazine
“It wasn’t until the New York revival with Tyne Daly that the strip really achieved for the show what it should have achieved from the beginning. Gypsy was played by Crista Moore; good as her first act was, her second act topped it.”
“…a dazzling Gypsy Rose Lee.”
— From “Original Story By” and “Mainly On Directing” by Arthur Laurents”
RAGS
American Jewish Theatre
Off Broadway
“…a dynamite mini ensemble…and a revelatory performance by CRISTA MOORE.”
— Jan Stuart, New York Newsday
Even better is CRISTA MOORE as the doomed Bella, a role built up and given with exceptional grace.”
— Clive Barnes, The New York Post
“The two leading actresses offer compensations. Ms MOORE, who played the title role in the recent production of “Gypsy”, has an insouciant humor as well as musicality. The duet “If We Never Meet Again”, written for the revival, is a high point of the show.”
— Mel Gussow, The New York Times
“Memorably affecting is the Bella of CRISTA MOORE. MOORE, who played the title role in the recent revival of “Gypsy” on Broadway, here proves that she has a much wider dramatic and vocal range than she was allowed to demonstrate in that earlier production and wins respect.”
— Larry S. Ledford, The Bergen News
110 IN THE SHADE
New York City Opera
State Theatre
Lincoln Center
“…and CRISTA MOORE, whose Snookie—-so different from her show-stealing Louise in “Gypsy” and brooding Bella in “Rags”—-proves that this young artist can do no wrong.”
— John Simon, New York Magazine
“CRISTA MOORE as the flighty Snookie Updegraff is brilliant.”
— Clive Barnes, The New York Post
CINDERELLA
New York City Opera
State Theatre
Lincoln Center
“As Cinderella, CRISTA MOORE, was sweet and winsome and appealingly human.”
— Edward Rothstein, The New York Times
“What makes the New York City Opera production engaging is the winsome performing of most of the cast. CRISTA MOORE {is} a lovely, liquid toned, lovable Cinderella.”
— John Simon, New York Magazine
“The cast is superb. CRISTA MOORE makes an extremely appealing Cinderella–both vocally and dramatically.”
— Howard Kissel, The Daily News
CRAZY FOR YOU
First National Tour
“MOORE has a scrubbed spunkiness and a beautifully limpid soprano that wraps itself around such tunes as “But Not For Me” with authority and grace.”
— Clifford A. Ridley, Philadelphia Inquirer
“As Polly, CRISTA MOORE has the right combination of pluck and sweetness to hold her own as both the only woman in Deadrock, Nev., and an engaging romantic heroine.”
— J. Wynn Rousuck, The Evening Sun
“CRISTA MOORE as Polly is just lovely, with wide blue eyes, a crystalline soprano and tough enough tap skills to keep up with the ensemble.”
— Iris Fanger, The Boston Herald
WONDERFUL TOWN
New York City Opera
State Theatre
Lincoln Center
“The strength here is in the leads. As the two Ohio sisters who come to conquer New York, {they} are all you want and more. MOORE’S Eileen, the aspiring actress, is innocently sexy, sweetly air heady, and unstoppable.”
— John Simon, New York Magazine
CINDERELLA
Cleveland Opera
Palace Theatre
Cleveland, OH
“What the Cleveland Opera has placed on the stage of the Palace Theatre is quite a charmer, especially CRISTA MOORE’S shining portrayal of the title role. MOORE’S Cinderella abounds in willowy loveliness and good-humored innocence, and she brings a touch of genuine poignancy to a role that can overdose on saccharin. Not only does MOORE sing the score with grace and vibrancy, she moves elegantly about the stage, conveying the girl’s sense of wonder and her awakening love. MOORE was dazzling as “Gypsy” in the Broadway revival, and she’s no less entrancing as Rodgers and Hammerstein’s optimistic maiden.”
— The Plain Dealer
“CRISTA MOORE is as ethereal and as ravishing a heroine as flesh and blood can conjure.”
— Keith A. Joseph
“CRISTA MOORE is dazzling in the title role of Cinderella. Her soprano voice soars throughout the Palace.”
— Royland Forte, Showtime (Newspaper)
BIG
Shubert Theatre
Broadway
“One of the most gifted, appealing, indeed irresistible young actresses in our musical theatre…a dazzler…there can never be enough of Miss MOORE.”
— John Simon, New York Magazine
“Moore is just about ideal for Susan, looking gorgeous, delivering her numbers solidly, and nicely capturing the character’s neuroticism and gradual transformation.”
— Ken Mandelbaum, Theatre Week
“CRISTA MOORE handles the tricky role of Josh’s adult girlfriend very savvily.”
— Howard Kissel, NY Daily News
DANCING IN THE DARK
Buffalo Studio Arena
Buffalo, NY
“CRISTA MOORE, who is forever adorable, plays the double role of Penny (Jerry’s former and professionally more successful girlfriend) and as Astaire’s first wife. She carries off huge chunks of the play’s exposition with fluidity and style, and manages to make a character with depth and texture in the process.”
— Anthony Chase, Artvoice
(Article) “MOORE is an important Broadway talent. She projects an almost fragile quality, yet she commands a strikingly sturdy and clearly motivated stage presence. She is also graceful and sings with a bright and melodious voice that takes flight over the music, delivering every lyric with intelligence. In short, she is perfect for musical theatre.”
— Anthony Chase, Artvoice
MY FAIR LADY
Geva Theatre
Rochester, NY
“CRISTA MOORE is perfect as Eliza, her waif-like appearance belying the strength and purity of her voice. Her metamorphosis in song is a joy to watch, from wistful “Wouldn’t It Be Loverly” and a confident “The Rain In Spain” to a joyous “I Could Have Danced All Night” and a vengeful “Just You Wait”. And her coming out scene before her debut at the Embassy Ball is nothing short of striking. Bejeweled and dressed in a white gown that would be in vogue at the Academy Awards-she turns the corner from ingenue to a classy lady.”
— Marcia Morphy, A Messenger – Post Newspaper Publication
HOUSE & GARDEN
Geva Theare
Rochester, NY
“CRISTA MOORE is so adorably explicit in her pantomime and so animated playing Lucille, the actress, that she will entrance and charm even those who don’t understand a word she says. Her dialogue is French, with hardly a line in English.” — Herbert M. Simpson
TARTUFFE
Worth Street Theatre
Off Broadway
“A very funny MOORE, with a mix of horror and not a little erotic charge, nicely carries the play’s best- known scene as a randy Tartuffe clumsily attempts to seduce her.”
— Robert Dominguez, NY Daily News
“CRISTA MOORE is a bewitching Elmire and a superb comedienne as well. She is especially good in the play’s famous seduction scene during which she pretends she is drawn to Tartuffe so that her husband (Keith Reddin) gets an earful from his hiding place underneath the sofa.”
— Elyse Sommer, Curtainup
ANNIE
Paper Mill Playhouse
“Nevertheless, there are notable performances. Crista Moore, for example, makes quite an impression as Grace, Warbuck’s personal assistant. Ms Moore has a perfect stage body, tall and slim, and she moves with marvelous grace. She carries herself with that period flair that is so sorely missed in the modern theatre. Ms Moore has that talent of being able to both communicate and radiate complex emotions simultaneously. When she is on stage the play comes alive.”
— David Lohrey, CurtainUp
THE GUARDSMAN
Cleveland Play House
Actors Skill Makes Simple, Subtle Comedy A Treat
“The Play House production of THE GUARDSMAN reminds us how truly entertaining the theatre can be, thanks in no small part to a pair of consummate performances, by Andrew May and CRISTA MOORE. MOORE, a much decorated Broadway performer with the delicate features of a porcelain figurine, burns with a hot, hidden flame as The Actress…MOORE quietly maintains control of the play, rising to her tippy-toes when she really turns on her considerable charms, towering over the passing parade that is The Actress’ life.”
— The Plain Dealer
A Toast To Elegance
“In 1924, [ THE GUARDSMAN ] was…a pedestal for the boyish impishness and brittle sophistication of emerging theatre legends Alfred Lunt and Lynn Fontanne. Now, CRISTA MOORE and Andrew May bring the same charisma to the Drury Stage. Fontanne’s Actress brought to mind an impeccable earth goddess with a Mona Lisa smile; MOORE is on the opposite end of the femme fatale spectrum. MOORE brings to mind a Jazz Age Cinderella sans step sisters. She is a rare mix of delicate and saucy. She acts with every part of her body, including creamy shoulders that arch in girlish seduction and toes that wiggle with delight. She unearths the wolf and prince in every functioning heterosexual male.”
— Keith A. Joseph, Cleveland Scene
Back To The Future
“CRISTA MOORE is ideal as The Actress, with a rapier of a voice, dripping silky and enigmatic insinuations, and just enough muted sensuality to balance her comic outbursts and complete a most seductive package.”
— Free Times
Consummate Cast Drives Production
“The beautiful CRISTA MOORE sparkles as the fickle and much-adored Actress. Moore’s portrait of a nervous and volatile theatre idol is a masterpiece of enigmatic subleties and oozing charm.”
— Jewish News
The GUARDSMAN Has Beauty, Wit, Charm
“MOORE, In the more difficult part [of the pair of leads] is a consummate coquette. Her mood is suggested by the simplest of gestures, such as the crossing of a shapely leg, and her simmering emotions ignite in a speech about her passion for acting.”
— West Side Leader
Stage Egos Pictured By Satiric Guardsman
“CRISTA MOORE is one of the most delightful creatures to walk on any stage. Quite simply, she’s beautiful. She has perfect comedic timing, and she does physical comedy with the best of the funny ladies of our time—–Lucille Ball and Carol Burnett. Moore makes going to the theatre an exquisite experience.”
— Sun Newspapers
THE SOUND OF MUSIC
Sacramento Music Circus
“CRISTA MOORE immediately shows the strength and wonderful youth of her singing, and in the scene that follows, defending herself for late hours to Mother Abbess, confirms that invaluable quality of youth. Without denigrating other Marias in other shows, it should be said that the impression of youthfulness MOORE seems to convey as naturally as breathing is one of the keys to the success of the production.”
— William Glackin, The Sacramento Bee
“Colorful costumes
with blue satin sashes,
thunder and lightening
that rumbles and flashes,
a girl who just sparkles
whenever she sings…
These are a few of my favorite things.
“Tony nominated CRISTA MOORE is the perfect Maria. She’s the earnest young postulant, wanting so much to become a nun: the loving governess who teaches her young charges how to sing, and reminds them about having fun: the woman learning about love for the first time, melting the heart of the military man. MOORE’S winsome personality and beautiful voice are just the frosting on the cake.”
— Bev Sykes, Davis Enterprise
MY FAIR LADY
Cincinnati Playhouse and
Rep St Louis
“As Eliza, CRISTA MOORE (who garnered Tony nominations for GYPSY and BIG) convincingly transforms from the rough and raw Cockney flower girl to the polished lady of high society. She is thoroughly appealing, sings like an angel, and sustains the fiery independence of Eliza throughout the performance.”
— Scott Cain, Cincinnati, Talkin’ Broadway
THE ADDAMS FAMILY
First National Tour
“Worth mentioning is that Moore steals the stage in the dinner scene with her expert comic timing and voice that rocks.”
— Boston City Guide / Examiner.com
“But CRISTA MOORE, as Alice, a frustrated woman prone to speaking in bad rhyme, nearly steals the show with her finely honed comic timing.”
— Tim Smith, Baltimore Critic
“CRISTA MOORE is delightful as she guides Alice through an epiphany and metamorphous.”
— Broadway World Reviews
“Alice Beineke, played by CRISTA MOORE with a sweet, sunny optimism that doesn’t quite disguise her pain, is a firecracker onstage. She and daughter-in-law–to-be have the strongest pipes in the cast.”
— Buffalo News
Press
A few snippets from around the web…
THE BALTIMORE SUN
Addams Family
THE MORNING JOURNAL
Addams Family
CHRON.COM
Addams Family
TORONTOIST.COM
Addams Family
ARTVOICE.COM
Addams Family
floridatheateronstage.com
Addams Family
HUFFINGTONPOST.COM
Broadway Originals
BROADWAY.COM
Photos (Grease)
PLAYBILL.COM
Sound of Music
THEATERMANIA.COM
Sound of Music
OGUNQUITPLAYHOUSE.COM
Sound of Music
METROLAND ONLINE
The Golden Apple
BARD.EDU
Golden Apple
CINCINNATI.COM
My Fair Lady
Playhouse in the Park
THEATERMANIA.COM
Annie
MUSICALS101.COM
Annie (Paper Mill)
Broadway.com
Absurd Person Singular Opening
PLAYBILL.COM
Stars in Your Eyes
talkinbroadway.com
Stars in Your Eyes
PLAYBILL.COM
Only a Kingdom