REVIEWS

OVERACTIVE LETDOWN

“It’s tough to say this is Corey’s finest hour, given her history of exceptional performances, but it’s a master class in duality; you can feel the groundedness of real life fighting a losing battle with her character’s hallucinations. It’s a draining performance—physically, mentally, emotionally.”

- John Thomason, Boca Mag

“Corey, equally accomplished in musicals, comedy and drama, adds a benchmark to her resume that tears at the audience’s heart in a tour de force performance of growing frustration, fury, sorrow, and terror. The fact that she creates someone as recognizable as your neighbor makes her all the more affecting, even when you normally would want to shake someone up and tell them to snap out of it.”

- Bill Hirschman, Florida Theatre Onstage

“Corey gives a richly complex performance as a young woman who innocently imagines she’ll be able to catch up on her reading and TV watching whenever her baby is napping. Instead, increasingly frantic and detached from reality, Corey’s Christine does her best to conceal how mental illness is infiltrating her every thought. It’s a powerful, difficult role, and Corey meets its shifting challenges.

- Christine Dolen, Sun Sentinel

“The character’s emotional roller coaster journey makes Christine a challenging acting assignment, one that Lindsey Corey handles with aplomb. She aptly projects Christine’s anguish, making her an abiding source of audience empathy.”

- Hap Erstein, Palm Beach Arts Paper

FRANKENSTEIN

“Lindsey Corey, endears as his sweet but spirited fiancée”

- Ilana Jael, SouthFloridaTheatre.com

A Wonderful World

“…Everyone is at the top of his or her game, including Lindsey Corey (who has a trio of comic moments as a Chicago lady of the evening, an eager reporter and an appalled White house assistant)…”

- Christine Dolen, Miami herald

Jekyll & Hyde

“Corey delivers a beautiful ‘Once Upon a Dream’, playing Emma as a plucky and patient strong-minded woman whose loyalty endures to the very end. She looks like a Victorian dream in a striking array of gowns…”

- Christine Dolen, Sun Sentinel

“Lindsey Corey has been a mainstay of local theater now for years with a range from the titular Violet to the Lady of the Lake in Spamalot. But her soaring gorgeous voice as the fiancée Emma is unusually expressive here, evoking a character with more depth than it is often played.”

- Bill Hirschman, Florida Theatre Onstage

“Lindsey Corey plays Dr. Jekyll's supportive fiancée Emma Carew. As Emma, Corey showcases her classical soprano voice, with a smooth, resonant tone and consistent vibrato. Corey also plays Emma with a strong-woman personality-taking control when her beloved Dr. Jekyll goes mad and transforms into Mr. Hyde.”

- David McKibbon, Broadway World

Dracula

“As Mina, Zoetic mainstay Lindsey Corey once again shows her ability to inhabit the kind of multi-dimensional strong-willed heroine seen in her immigrant pole-dancing mother in Stripped to Jane in Tarzan the Musical. Her characters, who are often in some kind of physical, emotional or mental peril, simultaneously exude an Everywoman vulnerability as well as internal confidence.”

- Bill Hirschman, Florida Theatre Onstage

“Corey’s appealing Mina exemplifies the era’s “new woman,” her self-assurance growing throughout her journey from someone ready to embrace tradition to a woman excited to take on the world.”

- Christine Dolen, Miami Herald

Stripped

“Lindsey Corey is extraordinary as Masha, the divorced mail order bride, pole dancer/prostitute, who opens the show with an erotically writhing display on the center stage stripper's pole. Masha is the mother of a baby girl and her love, desperation and frustration is captured brilliantly by Corey. Her Russian accented broken English is a delight, her monologues things of the saddest beauty.”

- Roger Martin, Miami Artzine

“Stripped plays out in many unexpected ways. On paper, Masha reads as honest but tough, and her choice of profession (she also admits to prostitution with some of the strip club patrons) doesn’t make her a terribly sympathetic character. But in a breakthrough performance, Corey is exactly that.

Lithe and impressively athletic, she works the stripper pole and the space around it while delivering stream-of-consciousness monologues that underscore her take-no-prisoners determination. Corey also blends the softness and humor that Demos-Brown supplies into her performance, so that her work is multi-layered and impressively rich.”

- Christine Dolen, Miami Herald


“But we’ve been putting it off long enough. Lindsey Corey. This has been quite a season for veteran local actors finally getting the role they deserved years ago. And finally, Corey gets her shot. Corey has always been admired for her skills with offbeat comic… But Corey’s Masha, while often funny, is a different animal. She exudes a whip-smart intelligence, a fierce determination, a breathtaking selflessness and a calcified cynicism as a long-justified defense mechanism against a society in which the rules are always changing. Corey makes all these facets completely believable. But blessed with an open-hearted face, she also elicits an audience’s sympathy, loyalty and even admiration.”

- Bill Hirschman, Florida Theatre Onstage

“As Masha, an exotic dancer desperate to maintain guardianship over her baby in a court system stacked against her, Lindsey Corey put on a performance that still echoes with a cerebral fire all of these weeks later. It came in Chris Demos-Brown’s Stripped, at Zoetic Stage. Corey worked the pole like a seasoned professional, stimulating our minds as well as, you know, other places. She made that old chestnut about Ginger Rogers — that she had to do everything Fred Astaire did, only backward and in high heels — seem quaint.

Lindsey Corey has been an emerging talent for years, displaying range in roles as varied as a roller-skating muse in Slow Burn's Xanadu and a bumptious Southern fundamentalist in Zoetic Stage's The Savannah Disputation. But last November's production of Stripped, also from Zoetic, will be remembered as the role that launched her into the upper tier of South Florida actors. Christopher Demos-Brown's world-premiere play is a quick-witted, emotionally trenchant meditation on parenting in the 21st Century. Its double-entendre title references a character that could slide easily into a cliché — the stripper with a heart, who loves and provides for her child but not in a way that society accepts. Because the role had never been performed outside of a play reading, Corey had no precedent, and her inventive decisions set an impossibly high standard for future productions. Playing a Russian immigrant who moonlights in the sex industry, Corey was alternately sensual and dolorous, vigorous and reflective, funny and heartbreaking, owning her character's accent as comfortably as the wobbly stripper pole at center stage, where she mastered the kind of choreography they don't teach at New World.”

Best Actress (“Best Of” Miami)

- John Thomason, Miami New Times

Violet

“Lindsey Corey is quite lovely with a matching lovely voice.”

- Skip Sheffield, Boca Raton Tribune

“Lindsey Corey steps into Violet’s shoes and they are a perfect fit. Corey captures Violet’s wide-eyed naiveté believing beyond some doubts that there’s hope for her tragic condition. The actress also has the vocal skill to pull off some of the tricky acrobatics that the musical score throws her way.

- Bill Hirschman, Florida Theatre Onstage

“Lindsey Corey turns in a strong performance as Violet, navigating her way through the emotional acting and singing demands of the role. As is typical for this show, the director has chosen to not show Violet with any scarring, asking the audience to instead imagine the scar as severe or as mild as they wish, for it is merely the outward manifestation of whatever imperfection we each bear inside or out. For a few moments in song I forgot the physically attractive actress was portraying an unattractive character. In the bus terminal scene following her visit to be healed, we all wanted nothing more than to see the face of Violet as pretty as the face of Corey, so as an actress she succeeds in taking us on her journey with her.”

- John Lariviere, Talkin’ Broadway

Tarzan

“Everything in this show ratchets up a notch with the arrival of Lindsey Corey as Jane… Corey’s wily timing shows audiences that the introduction to Tarzan could be just the ticket. When she tells the audience she’s had “quite an exciting day” after being rescued by a naked man, there’s a glimmer of naughtiness that’s absolutely fetching. Sparks fly between Tarzan and Jane… and it’s due to the chemistry between the two actors...“

- Bill Hirschman, Florida Theatre Onstage

Million Dollar quartet

“Lindsey Corey, playing Dyanne, contribute[s] a sultry “Fever” and a rockin’ “I Hear You Knocking.”

- Christine Dolen, Miami Herald

“Speaking of heat, a charming and sexy Lindsey Corey, lends Presley’s girlfriend, Dyanne, a sultriness and showmanship that makes you believe she’s one of the guys.”

- Aaron Krause, Theatrical Musings

“The chick, you ask? That's Lindsey Corey, playing Dyanne. Her Fever and I Hear You Knocking are highlights in a show that's all highlights.”

“…the terrific Lindsey Corey, belts Fever and I Hear You Knocking so well she could have been singing at the original session.”

-Roger Martin, Miami Artzine

Dancing Lessons

“Corey takes Senga on a trip from understandable depression to a woman who uses her artistic empathy to touch Ever in ways he never imagined.”

- Christine Dolen, Miami Herald

“Corey is one of the region’s emerging treasures. She won the Carbonell for an anguished immigrant mom in Stripped for Zoetic but she can do broad comedy like the roller disco goddess in Slow Burn’s Xanadu. Her round open face wins over an audience instantly even when playing a caustic person keeping the world at arms lengths. If her emotionally repressed role isn’t as showy, Corey/Senga’s quiet amusement at Ever’s actions provides a crucial counterbalance.”

- Bill Hirschman, Florida Theatre Onstage

“As Senga, Lindsey Corey offers a well-rounded, sensitive performance, transitioning seamlessly between several emotions. Corey’s more understated Senga serves as a nice counterpoint to Scott’s much less subtle Ever.”

- Aaron Krause, TheatreCriticism.com

The Savannah Disputation

“The headline here should be Corey. It’s been a pleasure to watch her develop from promising roles at Slow Burn Theatre Company to her central role as the emerging lesbian in Kim Ehly’s Baby GirL, to her housewife escaping an abusive husband in Arts Garage’s Exit, Pursued By A Bear, and now this fresh-face, well-scrubbed monster who could make you cookies before she burned you at the stake.

Many of her characterizations are similar – a slightly daffy, not terribly sophisticated, but undeniably earnest young woman. But within what she is being cast in, she is honing her comic timing to a keen edge.”

- Bill Hirschman, Florida Theatre Onstage

“…this is Lindsey's moment. Stealing a show from Bradshaw and Turnbull is akin to stealing gold from Fort Knox, but Lindsey, who raised eyebrows for her roles in Kutumba Theatre Project's Baby GirL and Slow Burn Theatre's Xanadu, pulls it off in a genuine star-making turn. She arguably has the play's biggest challenge, because she has to make charming an impudent door-to-door missionary, one of the most despised and mocked archetypes in the secular world. She does so in spades, with a magnetic stage presence and an authentic Georgia drawl: "Y'all been saaaaved?" Smith's words never sound funnier than when Lindsey is speaking them.“

- John Thomason, Miami New Times

Baby girl

“Lindsey, whose bubbly perk recently brightened a production of Xanadu in Boca, brings a similarly infectious likability to an otherwise dissimilar part.”

- John Thomason, Miami New Times

“Lindsey… is an appealing protagonist, narrating her life to us with a benevolent grin at the foolishness of her own actions and those around her.”

- Bill Hirschman, Florida Theatre Onstage

“Lindsey’s playfully appealing performance make[s] Ashley pretty much irresistible.”

- Christine Dolen, Miami Herald

“Lindsey, who was so good as Little Red in Slow Burn Theatre’s recent Into the Woods, commands the stage as Ashley, revealing so much vulnerability as the character that you can’t help but like her.”

- Michelle F. Solomon, Miami Artzine

xanadu

“Corey gets her Newton-John on as Clio/Kira, her voice a standout in the uniformly strong vocal work..”

- Christine Dolen, Sun Sentinel

“Corey’s voice is heavenly on ‘Have You Never Been Mellow’ and ‘Suspended in Time’. “

- Howard Cohen, Miami Herald

“Corey, who spends most of the show in skates deserves kudos for busting roller disco moves and, when her mic gave out at a performance at the Crest Theater in Delray Beach last weekend, deftly compensated with a handheld mic never missing a beat.”

- JW Arnold, South Florida Gay News