Press

>> Feature on Lauren in the New York Times.

>> Profile of Lauren in Opera News.

>> Profile of Lauren in the New Jersey Star-Ledger.

"The wonderful Lauren Worsham [has a bright, clear soprano, and] plays Phoebe D’Ysquith, the rival for Monty’s heart, with a demure sweetness that never cloys."
New York Times on Gentleman's Guide

"Before she made her Broadway debut this fall, Lauren Worsham had already established herself as an artist with a distinctive sensibility — and an unusual blend of talents. Her singular combination of intensity, intellect and a sweet, youthful soprano has served her in opera from David Little’s eviscerating Dog Days at Montclair State University to Bernstein’s bright, witty Candide with New York City Opera. Her fierce, high-energy stage presence — and its surprise pairing with that ingénue sound — have also made her magnetic onstage as the front-woman of the rock band Sky-Pony... Now [she's received] a Tony Award nomination for her performance in A Gentleman’s Guide to Love and Murder."
New Jersey Star Ledger

"Opera soprano Lauren Worsham shows off her heavenly pipes (and killer timing) as one of Monty’s love interests."
Time Out New York on Gentleman's Guide

"[The role is] beautifully sung by lovely Lauren Worsham."
Variety on Gentleman's Guide

"Multitalented soprano Lauren Worsham [is] a knockout."
Heidi Waleson, Wall Street Journal

In the New York Times' 2011 Tony Awards feature, Charles Isherwood wrote that Lauren "should have been nominated for Best Actress" for her role in Where's Charley.

Time Out New York did an interview with Lauren in February 2013. Click HERE to read it.

"In Lauren Worsham, a preternaturally girlish soprano, [Royce Vavrek and David Little's Dog Days] has a self-possessed heroine who maintains dignity and charisma in spite of harrowing conditions."
Steve Smith, New York Times

"As Lisa, the ardent Lauren Worsham sings like a young girl, with little vibrato, and her poignant, wide-ranging arias express her yearning and confusion. In 'Hello there, Beautiful,' sung as she looks in the mirror and marvels at her 'model-like' appearance, the musical lines are as angular as the starved body she sees."
Wall Street Journal

"She sang touchingly and looked amazingly young."
Opera Magazine UK

“Lauren Worsham broke my heart with her acting.”
Terry Teachout, Arts in America

"Ms. Worsham delights with her pure, warm tone and her agile comic delivery."
Charles Isherwood, New York Times

"Worsham, who has an innocent ebullience as Amy [in Where's Charley], shines in 'The Woman in His Room,' alternating between sweetness and rabid jealousy."
Huffington Post

“Lauren Worsham brings a surfeit of cuteness and a girlish, honeyed soprano to Lili’s wide-eyed effusions.”
New York Times

“Lauren Worsham has a voice that would make a nightingale jealous. When she sings, it’s liquid silver.“
Republican-American

“In the new revival of Carnival! at Goodspeed Opera House, the character [of Lili] comes to the fore as a refreshing discovery partly because the show is not often revived, partly because she sings such a large chunk of Bob Merrill's score (including the signature waltz 'Love Makes the World Go 'Round') and partly because Lauren Worsham sings it so beautifully and approaches Lili with such guilelessness.”
Playbill.com

“Worsham, who looks much like the actress Natalie Portman, has not only the strongest voice of the many fine singers in [Carnival!], but has a tone that is clear and thrilling to hear.”
Journal Inquirer

“[Worsham is] a babe who takes on Eartha Kitt and sounds great.”
Berkshire Fine Arts

“In certain ways [Weston Playhouse's] Light in the Piazza is actually superior to Lincoln Center Theater's 2005 Broadway production, not least because of Lauren Worsham's remarkable performance as Clara, a brain-damaged woman-child of 26 who falls in love with Fabrizio, an Italian boy who is irresistibly drawn to her glowing innocence."
Wall Street Journal

“Lauren Worsham, as virginal sex-pot Cunegonde [in Candide], knows how to be goofily amusing. Her expertise is most apparent in the coloratura ‘Glitter and Be Gay,’ where she dispenses some startling high E flats and makes the most of the jewelry-donning stage business Prince concocted 35 years ago.”
Theatermania