When Harry Met The Duke
Rosie and the Duke

"The show is well written, tightly paced, interesting, inquisitive, and enjoyable. Rosemary Loar is not only a formidable vocalist, but communicates with her audience, showing an openness one rarely observes. Arrangements are top notch, musicianship skilled and symbiotic."

 
Cabaret Scenes
"One of New York cabaret's strongest jazz singers, the 2012 winner of the MAC Hanson Award for "Excellence in Cabaret", her (Rosemary's) erudite and accessibly sophisticated new show featuring wonderful jazz, pop, and Broadway songs from the 1930s-'50s goes down like a delicious vodka martini topped with a skewer of blue cheese-stuffed olives."
 
Broadwayworld.com
"Loar is a jazz artist with a flair for dramatics, slim, trim and lovely in a plum slip dress, Loar is completely in charge of her wide vocally explosive range as it swoops from high soprano to sensuous sultry lows. This couldn?t be more evident than in the cleverly paired “Quando Swing” – a compilation of Ellington's “It Don't Mean a Thing” and a soaring classical Quando M'en Vo. What would Puccini say? I like it!"
 
examiner.com
"Loar’s voice easily slides from high to husky. She knows how to caress a ballad and belt the blues. Best of all is Loar’s personal appeal. She is vivacious and funny."
 
Times Square Chronicle

 

Click here for a downloadable pdf presskit of When Harry Met The Duke

The Quando Swing
Quando Swing

"Since Broadway can't seem to keep talents of this magnitude occupied audiences starved for good music and solid entertainment can be grateful that cabaret and Rosemary Loar have found one another. "

 
NY Post
"Loar has that little touch of madness. The sorts of performers Loar recalls include Beatrice Lillie and Madeline Kahn.... It's the interjections of nuttiness (naughtiness) that makes Loar someone worth watching."
 
Back Stage
"Showing skill as a songstress and songwriter, Rosemary Loar maneuvered her way through a self created forest os singing styles and topics. Her approach ranged from jazz to operatic to show tune, sometimes utilizing all three styles on a single song."
 
Variety
"There is a very emotional core to her interpretations..She performs with a zest that is thrilling and captivating on many levels. It's hard not to be impressed with one so attractive and brimming over with such talent."
 
After Dark

 

Click here for a downloadable pdf presskit of The Quando Swing

Sting, Stang, Stung!
Quando Swing

"In "Sting, Stang, Stung! Rosemary Loar is pure magic! Touching, affecting, with the voice of an archangel and looks of a movie star. Loar, who has been in five Broadway musicals, was born to sing Sting,"

 
Ward Morehouse III, Editor - Broadwayafterdark.com

"Who put's the swing in Sting?... There's much to choose from and (Rosemary's) got the intelligence and wit to match his in an entirely different mood and mode."

 
Finkle - Village Voice

"thanks to Loar's considerable skill as a singer/actress, and in no small measure thanks also to a treasure-trove of creative, varied, frequently jazz-flavored arrangements, the evening pays Sting the lyricist and Sting the composer all due honor."

 
Roy Sander - Bistro Awards
"A golden moment became the hour's best moment with a visceral pairing of "Mad About You" in union with Noel Coward's "Mad About the Boy." This is one of the best medleys to emerge from a cabaret show in the last decade. Other terrific turns came with the more familiar "Roxanne" sung with "Tomorrow We'll See." The same was true of "Every Breath You Take" fused with "Set Them Free." It all proves what Loar is capable of and that she easily has the goods to make it all work to perfection."
 
John Hoglund - After Dark

 

Click here for a downloadable pdf presskit of Sting, Stang, Stung!

Diane
in
Married Alive
Act II Playhouse
Married Alive
"Loar is perfectly cast, instilling sexuality and intelligence into her character. Her lovely rendition of "It isn't Important" gives the audience a poignangt pause to consider the evolving nature of human affection."
 
Stage Magazine
 
 
 
 
Grandma Who
in
The Grinch Who Stole Christmas
    National Tour

Seussical
"Rosemary Loar and Robyn Hussa  stand out a  with a soul-baring solos in separate mini-domestic dramas."
 
-Variety
"Choosing the best singing solo is a tossup between daughter Rosemary Loar’s searing “This Thing That Is Happening”, and Eamon Foley’s delightful rendition of “I Like What I See.”"
 
-Curtain Up
"Nancy Shane, gives the daughter a lyrically searing eleven o’clock number that Rosemary Loar intensely delivers, putting much of this story in perspective."
 
-American Theatre Web

Marcy
in
The Audience
    Connelly Theater

New York City
Drama Desk nominee for best new musical 2005





"Rosemary Loar and Robyn Hussa  stand out a  with a soul-baring solos in separate mini-domestic dramas."
 
-Variety
"Choosing the best singing solo is a tossup between daughter Rosemary Loar’s searing “This Thing That Is Happening”, and Eamon Foley’s delightful rendition of “I Like What I See.”"
 
-Curtain Up
"Nancy Shane, gives the daughter a lyrically searing eleven o’clock number that Rosemary Loar intensely delivers, putting much of this story in perspective."
 
-American Theatre Web

Ms. Bell
in
Fame

North Shore Music Theater



"Inga Ballard as Miss Sherman, the English teacher and Rosemary Loar as Ms. Bell, the dance teacher do a superb job on the song “The Teacher’s Argument.”"
 
-On The Aisle
"There are intense performances by Rosemary Loar as Ms. Bell, and inga Ballard as Ms. Sherman.  The two square off in a dramatic duet, as well as shining in solos. Loar with a stunning dramatic soprano and Bell will an equally stunning alto."
 
-North Shore Sunday

“not to be overlooked is Ms. Loar’s skill as a songwriter”

 
-Variety

“impressive...inventive..an accomplished songwriter”
 
-New York Post

“very impressive songwriter...fresh, with just the right amount of contemporary influence”
 
-Musicians Exchange

“she is an accomplished songwriter with more than a few numbers other singers would do well to look into”
 
-Backstage

“excels in a category usually reserved for the boys.”
 
Just Plain Folks
(internet music magazine)
Grizabella in the National Tour of
Cats
“Rosemary Loar possesses an expressive face that registers a wide range of emotions even under a heavy layer of cat make-up.  Add to her physical presence a penetrating soprano voice and Loar makes a near-perfect Grizabella.  Her electrifying “Memory in Act 2 is a spine tingler.”
 
-The Kansas Star

“Rosemary Loar’s final rendition of “Memory was introduced by a lonely oboe sound.  She began in an understated fashion, then exploded in an electrifying burst of sound that carried to the far reaches of the hall...She was the best Grizabella I have heard.
 
-The Pittsburgh Press

"Rosemary Loar is a rail-thin Grizabella, the frail former glamour cat who draws warmth from Memory.  Punching out the lyric with heart breaking strength, Loar can hold a torch to any singer around.”
 
-Seattle Times

"Rosemary Loar’s ‘Grizabella’s’ attempts of those moves during her first entrance say more about just how far she's fallen than any monologue could have. Loar’s powerful, beautiful rendition of the show’s theme "Memory"” follows.  Who needs a microphone with a voice like hers?  But it is the later version, just before she ascends to the heavyside layer, that wet many eyes and brought a near standing ovation.”
 
-The Anchorage Times
Ivy in Theatre Virginia’s Fair and Tender Ladies
(Phoebe Award For Best Actress in a Musical)
"Rosemary Loar, the superb actress who plays Ivy, leads us through it all with a cheerful intensity.  Narrating throughout and present in almost every scene, Loar’s impressive stamina mirrors that of her character."
 
-Richmond Record

"The remarkable Rosemary Loar creates a multidimensional Ivy Rowe!"
 
-Richmond Times Dispatch

"Rosemary Loar, who remains onstage virtually the entire play, brings depth and authenticity to each stage of Ivy’s life."
 
-Richmond Free Press

"One wonders how it is possible for Loar playing Ivy Rowe, to memorize endless pages of script while  maintaining a liveliness and joie de vivre that keeps the show spinning."
 
-Progress-Index

"Rosemary Loar who is on stage the whole two and a half hours has a robust contralto voice and carries the songs well...She embodies the spirit of Lee Smith’s memorable character...Loar as Ivy is both mischievous and moving."
 
-Free Lance Star
Gladys Fritts
in
Radio Gals
"Among the highlights are Loar's melodramatic opera singing and theremin playing."
 
-Back Stage

"Rosemary Loar as ‘Gladys Fritts’   is all lace and slink...and steals every scene she’s in..whether singing about the “Fairies in My Mothers Garden or doing a hilarious parody of modern dance in The Tranquil Garden.”
 
-Connecticut Post
Vi
in
Footloose
"Loar is touching and convincing as ‘Vi’, the wife of Rev. Moore.  Her scenes are full of painfully contained emotions and delicate songs."
 
-North Shore Sunday
Carlotta in
The Phantom
"Rosemary Loar provides delightful comic relief...she is a riot as the megalomaniacal dive and the “fork scene” in the Bistro is not to be missed."
 
-Suffolk Life Newspapers

Mame in
Mame

"In the title role, Rosemary Loar, is a natural and it’s easy to see why she’s in demand on Broadway....she brings an exuberance to the stage as the zany Auntie Mame and can bring the audience to roaring laughter  or to silent tears."
 
-The Daily Item

"...Is a lead whose acting is as powerful as her singing voice."
 
-Daily Local News

"Thanks to a terrific high energy turn by Rosemary Loar's hard to imagine the role done any better....and a smile  that lights up the stage."
 
-Springfield News

"...is delightful and genuine as Auntie Mame...young, winsome and level headed."
 
-Town Talk

"Loar's dynamic ability has the power to single-handedly captivate the audience."
 
-Main Line Daily Standard