“Musical storytelling at its very best… a supremely gifted songwriter”

“It’s not about the talent, either… although there are times when Jessica Vosk sings that you find yourself wondering how a sound so beautiful, so perfect, so pure could exist in real life. You may actually feel your heart being lifted out of your chest and carried away by sheer force of nature during the Vosk performance of JRB’s “Another Life” from Jessica’s Broadway bow The Bridges of Madison County. You might, very well, find that heart cleft in two by the interpretive skills in Jessica’s “Back to Before” by Ahrens/Flaherty, as, hot tears running down your face, you witness musical storytelling at its very best. You could succumb to the tidal wave of talent before you as the woman you spent the last seventy minutes getting to know reveals that she isn’t just a singer and an actor – she is a supremely gifted songwriter debuting her own composition “Walking In My Sleep” in a breathtaking performance featuring soulful and stunning harmonies with Rosen. You definitely would come away besotted by an epic medley of pop songs that, interspersed with monologues, chart the progression of bizarre Bear Mountain-informed first dates that led Jessica to true love. When a tearful Jessica reads a letter to her six-year-old self about staying true to herself and her dreams, the die is definitely cast. You have been Vosk’d. Yes, the Vosk talent is transparent, and ardor for the actress is in order. But it is easier to love someone when you feel love from them, and love rolls off of Jessica Vosk like the four thousand layers of material flowing from her ball gown last night. Jessica leads, at all times, with love, and it shows.”

Stephen Mosher, BroadwayWorld

“Husky, sexy, rich mezzo… the epitome of what American musical theatre is all about”

“Kicking off with ‘Beautiful’ (Carole King) the husky, sexy, rich mezzo of this rock goddess of the stage, Jessica Vosk, launched the programme, and the series, with a confident flourish…this Jewish-Polish singing actress is the epitome of what American musical theatre is all about. Listen to her sing the Gershwin’s, ‘Someone To Watch Over Me’, and you’ll find out: technique here is all that it should be, could be, but it never – ever – gets to upstage the story, mood or sentiment. As ever, key here is the endlessly varied colouring of the vowel sounds, where the emotional expression is at its most compelling – from the purest, most exquisitely supported, most glowingly round tones, through little catches of vibrato and in and out of almost dangerously exposed diphthongs.”

Julian Eaves, British Theatre

“Dazzling audiences… a perfectly crafted cabaret that sent the audience into a frenzy.”

“Dazzling audiences with her talent, energy, sincerity and humor… a perfectly crafted cabaret that sent the audience into a frenzy.”

David Clarke, BroadwayWorld

“Powerhouse and pristine vocals… ability to switch musical genres effortlessly”

“Her powerhouse and pristine vocals aside, the true achievement here is Vosk’s ability to switch musical genres effortlessly, engaging each song with a new vocal attack that is completely truthful to its musical style.”

Adam Hetrick, Playbill

“Vosk is particularly inspiring… goosebumps and chills ran through the audience”

“Vosk is particularly inspiring as Elphaba, especially during the Act I closing number, ‘Defying Gravity,’ where she literally takes flight. Her vocals rival the original Broadway cast recording, a compliment not given lightly. Goosebumps and chills ran through the audience...”

Amanda Gray, South Bend Tribune

“Vosk is a knockout, making a magnificent entrance…”

“Jessica Vosk, as the ghost of Lazar Wolf’s first wife, Fruma-Sarah, is a knockout, making a magnificent entrance...”

Opera News