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"Cáitlín Burke played the Mother Abbess, and her “Climb Every Mountain” was one of the best I’ve seen (and as an inveterate “Sound of Music” fan, I’ve seen a lot.) Her sincere and powerful delivery made me see the song in a whole new light — it was way more than a showstopping vehicle for a high soprano. Burke made the lyrics resonate."


                                                                                                               -Betsie Freeman, Omaha World-Record

Not only is the acting superb in this play but this play is filled with some of the most amazing vocal arrangements I've heard in a long time. The Mother Abbess' (Caitlin Burke) rendition of "Climb Ev'ry Mountain"at the end of Act I is absolutely amazing.  She has a powerful voice and was able to convey so much emotion and grace in that song.  Out of all of the singers in the show, her voice is one that I won't ever forget and I found myself wanting to hear her sing more songs than she did during the show.  She has one of those voices that is meant for the opera however she didn't overpower any of the other singers in the show.                                                                                                                                                    


"Cáitlín Burke’s ample voice and physical gusto made a three-dimensional character of the aged but determined Lady Jane; when she and Mr. Mills teamed up, the results were genuinely uproarious."   

                                                                                     -The New York Times

"In this production, however it was the basso profundo contralto actress/singer playing the plain, aging, massive Lady Jane, Cáitlín Burke, who really knocked my socks off. She has the wonderful Act Two opening aria, accompanying herself on a cello, and lamenting her fate as she ages and “more corpulent grow I,” as she waits for Bunthorne to return her unrequited love.”There will be too much of me  in the by and by.” We can all relate. I haven’t laughed so much in a theater in years!"

                                                                                              -The Stephen Holt Show, New York, NY



"There’s no doubt, however, that the best number of the evening was “Sad is that woman’s lot” early in Act 2. This ballad is robustly sung by Caitlin Burke, as Lady Jane, while accompanying herself on a huge cello.", New York


"Collaborations by these...performers were among the delights of the afternoon, and these were Burke and Mills’ show-stopping “So go to him, and say to him” duet, dance, and encores, including one in which they lip-synched to each other’s lines...Burke’s richly-voiced “Silvered is the raven hair,” which found her wielding her cello like a guitar, strumming it, and a violin, at her chin, was also a moment to cherish."


    -QonStage, New York


"But the luminary of the production is Caitlin Burke as Bloody Mary. The brilliance of her portrayal of the bawdy islander and the splendor of her singing surpass expectations. She alone is worth the admission."


     -Times-Herald Record



"Also of note is Cáitlín Burke as the undefinable, less-than-reputable Bloody Mary... Her acting abilities supply the gusto and passion that make Bloody Mary a bodacious, red-letter character."


      -Catskill Chronicle


"Caitlin Burke deployed...virtuoso flair as Mad Margaret."


           -The New York Times


"Caitlin Burke is a standout both in her singing and acting as the aptly-named Mad Margaret"


           -TheaterMania! New York


"As often happens in G & S revivals, the character parts steal the show and that is the case here. Mezzo-soprano Cáitlín Burke is wonderfully antic in her mad scene, Cheerily Carols the Lark, and she and Richard Alan Holmes as the formerly bad baronet Sir Despard, are a delight when reunited in their sprightly second act duet, I Once Was a Very Abandoned Person. Their Patter Trio with David Macalusos Sir Ruthven, with its comic refrain So it really doesnt matter, matter, matter, which is sung in full three times, each time faster than the one before, brings down the house. "


          -Theater New York


"As with most G&S outings, these sparkling moments involve the comic supporting players, chief among them Caítlín Burke as the love-distracted Mad Margaret...Burke is a daffy delight as she cavorts about the stage like a demented child, always one step off from the chorus. To hear her dryly deliver lines such as "Have you ever murdered anyone?" is worth the price of admission.The highlight of the show is the trio "My Eyes Are Fully Opened," ... Here Burke and Holmes are joined by David Macaluso as Robin...the three singers expertly spit out the intricate words faster and faster, reaching a dizzying and delightful climax."


             -Backstage, New York


"Caitlin Burke...was a standout as Mad Margaret; I've enjoyed many cute, crazy chicks doing their wild, weird stuff in this role, but Burke's madness had much more method in it than one usually sees."




"Cáitlín Burke introduces a marvellously manic Mad Margaret."


          -The Financial Times, New York


"Caitlin Burke made a particularly good and original Mad Margaret...the amusing scene with Despard, Mad Margaret, and Robin was brilliantly done, Burke particularly persuasive in her bursts of madness, and leading into that ultimate G&S patter song, My Eyes are Fully Open, also exceptionally well performed."


         -Forbes in the Footlights, New York


"Mezzo-soprano Burke, as Mad Margaret, established herself as an unbridled Ophelia-and-Lucia, rolled into one, in a riveting entrance mad scene, "Cheerily carols the lark ... To a garden full of posies."


       -QonStage New Yorks Performance and Arts Reviews



"But it was Katisha (Caitlin Burke) who stole the show from her formidable entrance onward. Her "Alone, and Yet Alive!" was full of passion and pathos and true current relevance, making her a villainess to love and garnering a standing O from most of the audience."


       -KDHX St. Louis, MO


"Caitlin Burke...make(s) Katisha into more than a clichéd villainess. In her big Act 1 finale, Burke is genuinely frightening as Katisha vows to destroy the young lovers, then moving as Katisha reveals her broken heart in "Alone and Yet Alive."


      -Backstage, New York


"Caitlin Burke makes for a non-traditionally youthful and attractive Katisha, Nanki-Poo's royally-intended bride.  While the character is written to be "plain of face" her fierce Kabuki makeup and cat-like physicality give her a dangerous allure.  Instead of offering, "beauty in the bellow of the blast," her powerful voice is wrapped in inviting textures.", New York



"The scorned lover Katisha (Cáitlín Burke) made a striking silhouette with her elaborately designed hair and costume, and her love of striking vicious poses. Burke’s crystal clear soprano will send shivers down your spine when you hear “Alone, and yet alive!” and “There is beauty in the bellow of the blast”.


      -DC Metro Arts, Washington, D.C.



"Cáitlín Burke brought down the house as the Mikado’s conniving, evil “Daughter-in-law Elect,” Katisha."


     -Maryland Theater Guide


"Quinto Ott and Cáitlín (pronounced Cathleen) Burke certainly brought the stage to life with their portrayals of The Mikado and Katisha…Burke is larger than life with a brash belt and terrific diction, that make you take notice. My favorite moment of the show is Burke’s duet with Macaluso towards the end of the show, “There is beauty in the bellow of the blast”.  Where some would fall short of Macaluso’s talent, Burke rises to the challenge and matches him punch for punch."


     -The Rogers Review, Washington, D.C.



"I also want to highlight Caítlín Burke’s beautifully terrifying performance as Katisha...Through the breadth of her powerful voice, Burke masterfully balanced Katisha’s bloodthirstiness and broken-heartedness."


     -The Cluster, Macon, GA






"Caitlin Burke did particularly well with her French inflections as Manon, Schlick’s star entertainer and Carl’s former mistress. Her touching acting and accomplished rendition of Coward’s signature tune, “If Love Were All” were superb. She, like Hillebrand, elicited well-deserved bravas after each of her numbers."


     -Forbes in the Footlights, New York


"Asian chanteuse Caitlin Burke shines as Lady Jane in "So Go to Him and Say to Him", her skills transcending the lackluster tune about aestheticism."


       -The Edge, Boston, MA

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