OIL
Olney Theatre Center
"The acting, however, is what makes this a superior production...A standout performance was delivered by [Sarah] Corey who played three roles, Anne Singer, Ana, the Persian maid who speaks only Farsi and, most notably as Aminah, the Iraqi friend of Amy. Aminah steals the scene when she opens Amy's eyes to the real suffering of the Iraqi people (and many in the oil-rich countries." --Susan Brall, MD Theatre Guide
THE FOURTH WALL
Oldcastle Theater Company
"Corey just sparkles here – she takes Julia’s character and runs with it. She’s all brash New Yorker, loud and full of herself, and so much fun to watch." --Amy Durant, The Alt
BROADWAY BOUND
Oldcastle Theater Company
"Best of all...is Sarah Corey, who plays Eugene’s mother, a once-lively Jewish hausfrau whose spirit has been battered by the slow crumbling of her marriage to an angry, dark-souled husband ( Jason Asprey )." --Terry Teachout, The Wall Street Journal
"Topping the rest is Sarah Corey as Mama Kate. She is so very honest and real in this role...Corey’s struggle is pure vocal restraint and she is sometimes chilling, sometimes overwhelming while doing very little. We feel every ounce of pain in Corey’s performance...She gives the play its emotional highlights as she tells and then shows the highlight of Kate’s life while she dances with her son, an unforgettable moment." --J. Peter Bergman, The Berkshire Edge
"Corey's Kate is resourceful, efficient, pragmatic, finds her own strength in her own way. She does not suffer fools, or liars, gladly. She holds the memory — without mawkish sentiment and only when she allows herself — of the time she danced with actor George Raft in a local ballroom which she recounts for Eugene with measured grace. And, in one of the evening's more sublime moments, choreographed by Ron Ray, Eugene responds by asking her to dance with him...It's an indelible moment in an indelible production."
--Jeffrey Borak, The Berkshire Eagle
SUMMER SHORTS (Love & Real Estate)
59e59 Theatre
"The performers, directed by Devanand Janki, dive into the material with aplomb, particularly Edward Hibbert as the fey--and meddlesome--narrator, and Sarah Corey as the sexually liberated sister. " --Andy Probst, Backstage
CAROLINE, OR CHANGE
Speakeasy Stage
"As Rose, Sarah Corey turns in a performance that ends up being the focal point in this production. She is wonderfully sympathetic as the pained and pampered daughter of a New York socialist who is doing her best to adjust to provincial life as a new wife and mother in class-divided Louisiana." --Jan Nargi, Broadwayworld.com
"Michael Mendiola, as Stuart, the father, and Sarah Corey as Rose, the stepmother, adeptly capture their characters' almost constant sorrow." --Ed Siegel, The Boston Globe
"Parker, Brandt and Corey carry the show, with Parker’s portrayal of Caroline dead-on in her anger and quiet compassion. The three are a joy to watch." --Anthony King, EDGE Boston
"[Sarah Corey] displays a fine singing-acting technique, alert to every nuance and shading in this busy score." --Carl A. Rossi, The Theater Mirror
EVITA
Worcester Foothills Theatre
"Sarah Corey's Eva has more than just a little bit of star quality...Corey embodies Eva Peron in the Foothills Theatre Company production of "Evita." ...Corey's rendition of "Don't Cry For Me, Argentina" is full of emotion and bravado and enhanced by her elegant appearance." --Nancy Grossman, Broadwayworld.com
"Sarah Corey...generates a magnetic force field around her that makes her larger than life, someone capable of using her charm and charisma to get anything, and anyone, she wanted. Corey skillfully delineates Eva’s voracious emotional and physical appetites, and her oversized ambitions, illustrated stirringly on songs like “A New Argentina,” humorously on “The Art of the Possible” and fatefully on “Rainbow Tour." She sings “Don’t Cry For Me Argentina” as movingly as one could hope for, " --Paul Kolas, Worcester Telegram and Gazette
COLE PORTER'S YOU NEVER KNOW
Stoneham Theatre
"{L]eading lady Sarah Corey who now adds new colors to her palette each time I see her; the SpeakEasy’s CAROLINE OR CHANGE displayed Ms. Corey's dramatic singing talents --- here, she releases a breathtaking range from Broadway belt to silvery operetta." --Carl A. Rossi, The Theater Mirror
IN THE BOOK OF
Florida Studio Theatre
"Sarah Corey portrays an endearing Anisah, skillfully conveying her charm and wisdom, and allowing the audience to feel empathy for the foreigner, which is essential to the success of the play. " --Paula Atwell, Sarasota Observer
AROUND THE WORLD IN 80 DAYS
Oldcastle Theatre Company
"Sarah Corey (Actor 4) plays the heroine, Aouda, and also three different men. She does well in all her appearances but her Aouda is lovely, gentle, strong and resourceful. She handles the East Indian accent beautifully (the entire cast uses accents to perfection) and her take charge moment in Act Two is both sudden and anticipated and is wonderfully played, simply and with charm. I also particularly enjoyed her as the newspaperboy." --J. Peter Bergman, EDGE New York
THE WILD PARTY
New Repertory Theatre
"Sarah Corey is sexy and sassy as the savvy ex-whore." --Beverley Creasey, The Theater Mirror
LOVE/SICK
The Public Theatre
"The young cast displays their versatility and virtuosity, donning numerous masks which all share a certain similarity in their susceptibility to the follies of love...Sarah Corey demonstrates her range, exploring the devastation of the jilted girlfriend in "Singing Telegram" or the sheer homicidal mania of the bored wife in "Uh-Oh!." --Carla Maria Verdino-Süllwold, Talkin' Broadway
Olney Theatre Center
"The acting, however, is what makes this a superior production...A standout performance was delivered by [Sarah] Corey who played three roles, Anne Singer, Ana, the Persian maid who speaks only Farsi and, most notably as Aminah, the Iraqi friend of Amy. Aminah steals the scene when she opens Amy's eyes to the real suffering of the Iraqi people (and many in the oil-rich countries." --Susan Brall, MD Theatre Guide
THE FOURTH WALL
Oldcastle Theater Company
"Corey just sparkles here – she takes Julia’s character and runs with it. She’s all brash New Yorker, loud and full of herself, and so much fun to watch." --Amy Durant, The Alt
BROADWAY BOUND
Oldcastle Theater Company
"Best of all...is Sarah Corey, who plays Eugene’s mother, a once-lively Jewish hausfrau whose spirit has been battered by the slow crumbling of her marriage to an angry, dark-souled husband ( Jason Asprey )." --Terry Teachout, The Wall Street Journal
"Topping the rest is Sarah Corey as Mama Kate. She is so very honest and real in this role...Corey’s struggle is pure vocal restraint and she is sometimes chilling, sometimes overwhelming while doing very little. We feel every ounce of pain in Corey’s performance...She gives the play its emotional highlights as she tells and then shows the highlight of Kate’s life while she dances with her son, an unforgettable moment." --J. Peter Bergman, The Berkshire Edge
"Corey's Kate is resourceful, efficient, pragmatic, finds her own strength in her own way. She does not suffer fools, or liars, gladly. She holds the memory — without mawkish sentiment and only when she allows herself — of the time she danced with actor George Raft in a local ballroom which she recounts for Eugene with measured grace. And, in one of the evening's more sublime moments, choreographed by Ron Ray, Eugene responds by asking her to dance with him...It's an indelible moment in an indelible production."
--Jeffrey Borak, The Berkshire Eagle
SUMMER SHORTS (Love & Real Estate)
59e59 Theatre
"The performers, directed by Devanand Janki, dive into the material with aplomb, particularly Edward Hibbert as the fey--and meddlesome--narrator, and Sarah Corey as the sexually liberated sister. " --Andy Probst, Backstage
CAROLINE, OR CHANGE
Speakeasy Stage
"As Rose, Sarah Corey turns in a performance that ends up being the focal point in this production. She is wonderfully sympathetic as the pained and pampered daughter of a New York socialist who is doing her best to adjust to provincial life as a new wife and mother in class-divided Louisiana." --Jan Nargi, Broadwayworld.com
"Michael Mendiola, as Stuart, the father, and Sarah Corey as Rose, the stepmother, adeptly capture their characters' almost constant sorrow." --Ed Siegel, The Boston Globe
"Parker, Brandt and Corey carry the show, with Parker’s portrayal of Caroline dead-on in her anger and quiet compassion. The three are a joy to watch." --Anthony King, EDGE Boston
"[Sarah Corey] displays a fine singing-acting technique, alert to every nuance and shading in this busy score." --Carl A. Rossi, The Theater Mirror
EVITA
Worcester Foothills Theatre
"Sarah Corey's Eva has more than just a little bit of star quality...Corey embodies Eva Peron in the Foothills Theatre Company production of "Evita." ...Corey's rendition of "Don't Cry For Me, Argentina" is full of emotion and bravado and enhanced by her elegant appearance." --Nancy Grossman, Broadwayworld.com
"Sarah Corey...generates a magnetic force field around her that makes her larger than life, someone capable of using her charm and charisma to get anything, and anyone, she wanted. Corey skillfully delineates Eva’s voracious emotional and physical appetites, and her oversized ambitions, illustrated stirringly on songs like “A New Argentina,” humorously on “The Art of the Possible” and fatefully on “Rainbow Tour." She sings “Don’t Cry For Me Argentina” as movingly as one could hope for, " --Paul Kolas, Worcester Telegram and Gazette
COLE PORTER'S YOU NEVER KNOW
Stoneham Theatre
"{L]eading lady Sarah Corey who now adds new colors to her palette each time I see her; the SpeakEasy’s CAROLINE OR CHANGE displayed Ms. Corey's dramatic singing talents --- here, she releases a breathtaking range from Broadway belt to silvery operetta." --Carl A. Rossi, The Theater Mirror
IN THE BOOK OF
Florida Studio Theatre
"Sarah Corey portrays an endearing Anisah, skillfully conveying her charm and wisdom, and allowing the audience to feel empathy for the foreigner, which is essential to the success of the play. " --Paula Atwell, Sarasota Observer
AROUND THE WORLD IN 80 DAYS
Oldcastle Theatre Company
"Sarah Corey (Actor 4) plays the heroine, Aouda, and also three different men. She does well in all her appearances but her Aouda is lovely, gentle, strong and resourceful. She handles the East Indian accent beautifully (the entire cast uses accents to perfection) and her take charge moment in Act Two is both sudden and anticipated and is wonderfully played, simply and with charm. I also particularly enjoyed her as the newspaperboy." --J. Peter Bergman, EDGE New York
THE WILD PARTY
New Repertory Theatre
"Sarah Corey is sexy and sassy as the savvy ex-whore." --Beverley Creasey, The Theater Mirror
LOVE/SICK
The Public Theatre
"The young cast displays their versatility and virtuosity, donning numerous masks which all share a certain similarity in their susceptibility to the follies of love...Sarah Corey demonstrates her range, exploring the devastation of the jilted girlfriend in "Singing Telegram" or the sheer homicidal mania of the bored wife in "Uh-Oh!." --Carla Maria Verdino-Süllwold, Talkin' Broadway