Recent Reviews
Rebecca Caine as Magdalene in Propaganda at The Belfast Lyric Theatre, Autumn 2022
BritishTheatreGuide
"Trapped in disjointed time and perpetually clothed in a decaying ball-gown, Rebecca Caine’s Miss Havisham-like Magadelene provides some of the evening’s most poignant and aching moments, her previous life as a concert pianist eclipsed and forever lost with little to replace it but regret."The Guardian
"Establishing these characters slowly, using effervescent jazz and satirical Hollywood dance numbers, Mitchell’s score also incorporates operatic lyricism through the character of Magda (Rebecca Caine), whose evening gown is all that is left of her former life as a concert pianist. In the haunting song Never Said a Word, Magda remembers the prewar years when she had turned a blind eye to the persecution of her Jewish neighbours, including the young Hanna."
BelfastMedia.com
"A special mention has to go to Rebecca Caine and Sean Kearns whose supporting roles of Magdalene Von Furstenberg and Comrade Poliakoff hold the show together. This is truly a cast with phenomenal vocal ability, who will leave theatre goers mesmerised by the scale and range of their voices."
Musical Theatre Review
"There’s not a weak link on stage and of the many ensemble songs demonstrating this this, ‘Moon over Moscow’ at the soaring climax of the work, led by Rebecca Caine as Magda, catches the full emotion, passion, energy of the entire musical."
The Stage
"Rebecca Caine’s wise, emotionally damaged concert pianist Magda.She is bizarrely resplendent in the only garment she now possesses, a billowing, ash-grey chiffon evening dress. Caine’s operatic soprano lends genuine contrition to the confessional Never Said a Word, an apology for disregarding the racial persecution inflicted upon her fellow citizens."
Rebecca Caine as Margaret Johnson in The Light in the Piazza 2022 with Central City Opera in Colorado 2022
Marlowes Musings
"Rebecca Caine, who originated the role of Cosette in “Les Miserables” in London’s West End, as well as having played "The Phantom of the Opera’s" Christine Daee in the West End and Toronto, plays Clara’s mother, Margaret Johnson. Caine’s vocals are gorgeous and powerful. With her breaking of the fourth wall, and speaking directly to the audience, we become aware of her daughter Clara’s traumatic past. Margaret’s trip to Florence with Clara, brims with awarenesses about her daughter’s future … as well as her own."
Colorado Drama
"Yet this unique opera/musical is really Margaret’s story, and Caine, who performs in both opera and musical theatre, shines bright, as Margaret considers her own happiness, or lack thereof, in the context of her daughter’s new found love. The poignancy that Caine brings to her arias ("Dividing Day," "The Beauty Is [Reprise]," and the finale "Fable") elevate and define the story, and deliver a transcendent catharsis."
Rebecca Caine as Irish politician, Iris Robinson in Abomination, The Belfast Ensemble at The Belfast Lyric Theatre, Autumn 2019
NoMoreWorkHorse.Com
"Rebecca Caine adds her magnificent vocals to the bile of ‘Iris Robinson’. She is a powerhouse of musicality singing the most appalling opinions."
Fiona Maddocks
The Observer
"This is a fully fledged work of art, clear-eyed in its purpose, redemptive and sober rather than aggressive or hysterical, all woven into a score of musical dexterity and warmth. Expertly and simply staged, the opera’s small cast was led by the Canadian-born, London-based soprano Rebecca Caine, brilliant in the role of Iris Robinson."
Rebecca Caine as Dahl, Rachmaninoff’s hypnotherapist in Preludes at The Southwark Playhouse, London, Autumn 2019
BritishTheatre.com
"Caine’s steely poise as Dahl always seems to be standing guard to keep it on the right intellectual and artistic track: she does not sing nearly as much as the others, but her ‘Hypnosis’ towards the end of Act 2 is worth waiting for: a sublime piece of musical theatre delivered by one of the best in the business (she introduced the role of Cosette in ‘Les Miserables’, amongst others), and a glorious apotheosis to the whole show.""
BroadwayWorldUK
"Rebecca Caine gives a selfless and and highly intelligent performance as Rachmaninoff's hypnotherapist. Her sensitivity and silence drink in Rach's troubles, before her characteristically glorious vocals bolster his musical talent in a somewhat clumsy but apt metaphor for the careful untangling of therapy. Perhaps overshadowed by her own musical talent, Caine's acting has been underrated."
Exuent Magazine
"Opera singer Rebecca Caine shines in its central alto role, singing with a resonance and delicate vibrato you almost never hear in musicals in the age of Idina Menzel-style belting. The balance isn’t quite right; this is a idiosyncratic mix of voices, all different in style and training, some coming through, some melting away. But it’s beautiful."
londontheatre.co.uk
"The score, encompassing classical references from Bach and Beethoven to Rachmaninoff himself, provides a variously jarring and enticing wall of sound, delicately folded around Rach's hypnotherapy sessions with his therapist (a sternly serious Rebecca Caine, who also briefly reveals one of the most gorgeous singing voices on stage)."
Musical Theatre Review
"Dahl, in real life a man, is played here by statuesque Rebecca Caine, who, thanks to an incredible pair of heels, seems to tower nine-foot tall over the petite Rach. Her severe suit and raised hair (brava Bryony Lemon and Diana Estrada for the costumes, hair and make-up) give her a striking, movie-icon look – I could barely take my eyes off of her – and she has an unrivalled stage presence. Don’t expect her to sing much, although when she does, in Act II (‘Vespers’ then ‘Hypnosis’) she really fills the space with that beautiful, soaring soprano sound."
Lyn Gardner
Stage Door
"It would be a pity to miss the late-stage vocal fireworks of Rebecca Caine who plays the hypnotherapist Dahl, who helped Rachmaninoff overcome his depression and composer's block, with a self-effacing restraint that suddenly and unexpectedly blossoms into something mighty."
Rebecca Caine as Helen Chasen in Harold and Maud, Charring Cross Theatre, Spring 2018
What's On Stage
"Rebecca Caine as Harold’s mother is brilliant, showing a horrible lack of interest in her son’s attempts to shock her but then obsessing over his personality and going to desperate ends to find him a girlfriend."
Broadway World
"Rebecca Caine is wonderfully funny and over the top as Harold's mother, who is determined to find him an appropriate bride. When he fakes shooting himself in front of a potential wife, she simply barks, "Harold, not in the daffodils!" Caine manages to capture the essence of the American socialite mother of the late 20th century who cares about her son, but cares about the family's reputation more."
The Express
"Caine is sharply amusing as his mother."
British Theatre
"As Harold’s mother, Rebecca Caine is wonderfully acerbic."
London Theatre1
"The indomitable Mrs Chasen, Harold’s Mother, is a wonderful creation by Rebecca Caine switching easily in-and-out of long-suffering putter-upper of her son’s penchant for re-creating all manner of suicides, and chic woman-of-importance with self-bestowed aristocratic genes that demand that everyone bows and scrapes and goes away impressed."
Everything Theatre
"Rebecca Caine as Mrs Chasen presents us with a self-absorbed, domineering snob with great comic timing, but a bit of depth in the character towards the end arouses some unexpected sympathy."
Rebecca Caine as Raquel De Angelis in Living On Love, Asolo Rep, Winter 2016
Andrew Meacham
Tampa Bay Times
"Critics gave respectable marks to Renee Fleming in her Broadway debut,but some complained that the real-life diva of the moment was too good-natured as Raquel to be effective. Caine suffered no such difficulty in the Asolo production, hitting just the right notes as a diva hilariously crippled by self-adulation and past glories. Caine can do so much with an eyebrow, with pursed lips or the turn of her head. Caine rewards the audience for waiting with a complete song, a rendition of Irving Berlin'sAlways. Another romantic resolution you saw coming (and one you didn't) tie up the show with a bow. For those looking for burning depth or characters six layers deep, this show is not for you. But if you enjoy good acting, gentle, self-satirizing wit and the best voice you will hear in musical theater for a while, see Living on Love before the end of its run."
Joseph Amato
The Bradenton Times
"Caine demonstrates a rich, resounding voice as the Diva, and when she sings in synchronization with selected operatic orchestral pre-recordings, her voice booms throughout the theater. She teases the audience. Just a few bars to enable you to recognize the melody and the operatic work, but not enough to be satisfied. If opera is an addiction, her teasing leaves you in a constant state of aria withdrawal. Now, her part in this plot is not a story "about" a Diva. When she begins to sing those segments of well-known opera melodies, the Diva is "there," alive, performing in front of you. The only part that remains hard to conceive is that this operatic talent belongs to a waning career, at least according to the storyline."
Jay Handelman
Herald Tribune
"Caine gets to sing a bit (and beautifully) and practically floats about the stage as a woman who is accustomed to being the center of attention. Every move is graceful and calculated for maximum attention."
Rebecca Caine as Katisha in The Mikado, Charing Cross Theatre, Winter 2014/15
Libby Purves
Theatrecat.
"Rebecca Caine is a fabulous, fearsome Katisha, her huge voice easily filling the theatre at times, expressively soft at others. We feel pity (and not a little anxiety) for Katisha within moments; her fragility is endearing, as is her bitter bravado, sung superbly by Caine and acted with gleeful menace, shot through with a real fear of being alone. The reason The Mikado can move us, despite all its apparent silliness, is that some of its humour is in fact presciently serious at heart."
Jonathan Baz reviews.
"The performing excellence of this production lies with its women. Rebecca Caine's Katisha is a masterclass. Her vampish, vulnerable and (sometimes) baddy is a flawless display of perfection in her craft, her voice filling the auditorium and her presence, alongside hilarious poise and facial expression, stealing every scene."
Evening Standard.
"Rebecca Caine’s Katisha is a gargoyle from the dark side of opera seria."
Broadwayworld
"But the late entrance of Rebecca Caine as Katisha - a kind of Goth Stevie Nicks - steals the show even from Mark Heenehan's absurd Mikado. Katisha's plaintive lament "Alone and yet alive" beautifully transforms her character and is given full value by Ms Caine, whose only flaw is her hopeless inability to be ugly!"
entertainment-focus
"Without a doubt, the star of the show was Rebecca Caine as Katisha, the vengeful lover. Her arrival at the end of act one is the show’s highlight as she stalks around the stage, brandishing an umbrella at anyone daring to come close enough. Caine is camp and commanding and really does elevate the entire production with stellar stage presence."
JohnnyFox:CriticalMass
"Rebecca Caine makes so much more of Katisha than you’ll have seen in previous productions, bestriding the stage as a predatory cougar and dressed like a character from E F Benson, relishing both the comedy and the glorious arias she delivers impeccably. Hearing how tremendously good she is in this role, it makes you wonder why her career hasn’t been studded with more West End leads since she originated Cosette in Les Miserables thirty years ago."
The Stage
"Rebecca Caine - Les Miserables’ original Cosette, no less - projects both vocally and dramatically. A striking Norma Desmond-like figure, Caine nails the character instinctively, colouring her aria with plenty of comic touches and yet bringing genuine pathos to Alone, And Yet Alive. Caine’s presence lifts an otherwise thin production that requires a much stronger sound to merit this difficult space."
GrumpyGayCritic
"Caine absolutely steals the show as Katisha. There’s a power and playfulness in everything she does to make her an expert villain, making Cruella DeVille look like Mary Poppins by comparison. Yet, she brings a tenderness and unexpected humanity for her more reflective arias, especially “Alone, And Yet Alive” that is as unexpectedly striking."
Everything-theatre.co.uk
"Unquestionably however, the highlight of this play is a barnstorming performance from Rebecca Caine, whose Katisha, with her ‘caricature of a face’ steals the show. Genuinely devastated at having been jilted by Naki-Poo, she swears revenge and assumes as much right to order people around as the Mikado himself, much to his chagrin. Her tragedy comes through when she asks us ‘who knows as well as I do that no-one yet died of a broken heart?’ But she is hugely comical when she settles on Ko-Ko to be her husband, and asks if he won’t mind if she’s ‘just a tiny bit blood thirsty?’
The Express
"Soprano Rebecca Caine as Katisha, fearsome “daughter-in-law elect” of the Mikado (Mark Heenehan), resonantly quells any argument with a prolonged top note."
Rebecca Caine in The Sound of Music at Kilworth House Theatre, Summer 2012
The Daily Express, Neil Norman
"The production is given a extra oomph with the inclusion of the operatic voices of Jan Hartley as the Mother Abbess who stops the show with Climb Every Mountain and Rebecca Caine as the glamorous Elsa Schraeder."
Rebecca Caine at Lower Ossington Theatre, May 2012
NOW MAGAZINE, Glenn Sumi, May 2012
Raising Caine
The art of cabaret is alive and well, thanks to the Green Door Cabaret, which has been running at its intimate space on the ground floor of the Lower Ossington Theatre for a year now. Helmed by Robert Missen, the room features an eclectic mix of performers: jazz, spoken word, poetry – you name it. Last Friday, Rebecca Caine, known to local audiences for her musical theatre work (she created the role of Christine in the Toronto production of Phantom Of The Opera) and opera (Lulu, The Cunning Little Vixen), delivered a spirited set that amounted to a mini history lesson in musical theatre.
She began by lamenting the fact that most modern musicals lack roles for sopranos; they're made "for belters." She then took us back to the era of musical singing stars and performers who either "drank themselves to death or married into the aristocracy."
These ditties were perfectly suited to Caine's sweet-toned voice, and she exuded what we see too little of these days: real charm. Between songs, she regaled us with backstage anecdotes, little bits of trivia (who knew that 1930s dancer/singer/actor Jessie Matthews was related to our own Sharron Matthews?) and a couple of bitchy (but fun-spirited) jokes, too.
Highlights in the first half included I'll See You Again, dedicated to the memory of baritone Dietrich Fischer-Dieskau, who had passed away earlier that day; Gangway, a cute novelty song that wouldn't be out of place in The Drowsy Chaperone; and two contrasting numbers from My Fair Lady, impeccably thought through and sung.
The second half focused on more contemporary musicals, but even here Caine produced surprises, like a brilliant song from another version of Phantom Of The Opera (by Maury Yeston) and two Sondheim gems. She ended the concert in style with a bravura performance of Think Of Me, from the better-known Phantom, and returned for a moving encore: Jean Valjean's Bring Him Home, preceded by a story about soldiers singing that song in Afghanistan.
The highlight of the night was her duet with her Toronto Phantom co-star Byron Nease on All I Ask Of You, which they made more than the saccharine wedding song it's since become.
A class act.SALAD DAYS, Riverside Studios 2010/2011
Daily Telegraph, Rupert Christiansen, December 2010
"Sam Harrison and Katie Moore are very endearing as the dippy young lovers, Tim and Jane, Rebecca Caine does a hilarious turn as languid Lady Raeburn and Kathyrn Martin puts across Asphynxia’ssmoochy nightclub number with aplomb. The dancing, choreographed by Quinny Sacks, is terrific: I almost volunteered to join in myself.
For my money, this has got to be the best musical in town."
THE CORONATION OF POPPEA, Kings Head 2011
Opera, Peter Reed
"It was a miracle Rebecca Caine’s Ottavia didn’t upset the balance.
Her singing and acting were of a much higher standard and her Sybil -like delivery of Michael Nyman’s specially composed intervention aria clinched the power of her portrayal."
The Daily Telegraph, Rupert Christiansen
"Rebecca Caine’s Ottavia lends the evening a touch of vocal class: her sumptuous rendition of Nyman’s impassioned inserted aria – a stand-alone hit, I would guess – was the one point in the evening which blazed into emotional fire."
The Guardian, George Hall
"At its best it possesses a quiet integrity that exposes the interiors of some of opera's first great psychological portraits.
There's a poisoned grandeur to Rebecca Caine's Ottavia, while the scariness of Jessica Walker's Nero never quite goes away, even in his love scenes with Zoë Bonner's sexually confident Poppea."
The Times, Neil Fisher
"I don’t think it’s a coincidence that the most striking moment has nothing to do with the original opera at all.
Enter Rebecca Caines’s bloodied former empress Ottavia.
Ravenhill has employed Michael Nyman to bring her back to burst the bubble of the Emperor.
Caine’s Ottavia, boosted by that extra aria, has real force throughout."
OWEN WINGRAVE, Chicago Opera Theatre, Spring 2009
Wall Street Journal
“Matthew Worth was a poignant Owen: Matt Boehler was a sympathetic Coyle: and Rebecca Caine, a bright high soprano, was appealing as Coyle’s wife.”
Musical America
“Bass- baritone Matt Boehler managed a skilful emotional mix as Spencer Coyle. As his wife and sole female ally, Rebecca Caine was a lovely and warm hearted presence, her bright soprano soaring easily in Brittens lyrical melodies.”
Timeout
“Beautifully supported by (Steuart) Bedford and his orchestra, the four female roles shine in this cast-most notably Rebecca Caine as Mrs Coyle, whose dynamic range projected easily throughout the theatre with vigorous emotion”
Chicago Sun-Times
19 May 2009
“Rebecca Caine’s bright soprano made her Mrs Coyle an endearing exception to the opera’s phalanx of disapproving women.”
Opera News
August 2009
“Tenor Robin Leggate limned Sir Philip’s writing with a timbral grace the nasty old man barely deserved. Matt Boehler and Rebecca Caine sang beautifully as the sympathetic Coyles, as did Brian Anderson as Lethmere”
Chicago Theatre Blogspot
“As Mrs. Coyle, Rebecca Caine provided a welcome vivacity and charm to the dour proceedings”
LEADING LADIES - Lauderdale House
reviewed: Thursday, September 4, 2008
Musical Stages - Summer 2008
Rebecca Caine – LEADING LADIES
Lauderdale House
Chris Goepfert
As most of us will remember, Rebecca originated the role of Cosette in Les Miserables and also played Christine in Phantom of the Opera both here and in the Canadian premiere, both recordings I consider still to be the best of both musicals.
Having had an extensive career in both Opera and Musical Theatre, she now turns her attention to all those diva that have made the leading lady such a driving force in the theatre.
Using the Merry Widow’s entrance by Lehar, Rebecca arrives on stage looking like an Erte painting. We are then treated to a fascinating journey through the world of the diva over the past 100 years.
Starting with Gertie Miller from the early 1900s who played the lead in Lionel Monckton’s Our Miss Gibbs,” Moonstruck” is a wonderful song which Rebecca sings to perfection. Composer Noel Coward created many leading ladies, the most famous being Gertrude Lawrence and she is fully represented in such songs as “ Parisian Pierot “ together with Lawence’s roles in Gershwin and Kurt Weill musicals.
There is a wonderfully spirited version of “ Do, Do, Do” from Oh Kay! As well as the poignant “Someone to Watch Over Me”.
Cowards Bittersweet introduces us to the wonderful Evelyn Laye with I’ll See You Again” then we moved on to my personal favourite Jessie Matthews. Here Rebecca shone while singing “ Gangway”, “Dancing on The Ceiling” and of course,
“ Over My Shoulder”.
Mary Ellis, Lisbeth Webb and finally Julie Andrews bought us up to date with classics such as “ Wouldn’t It Be Luverly” and! I could Have Danced All Night”.
But this was more than a collection of songs. The character of each leading lady was brought to life with vivid stories of their lives and loves and believe me, some of these ladies would be well at home on the covers of “Hello” and” OK” magazines.
In fact, some make Amy Winehouse’s behaviour seem rather normal!
The best word to describe Rebecca’s performance is “exquisite”. Her singing, movement and look scream style, class and talent.
And one must not forget the great Gerald Martin Moore who co- created the show and not only provided impeccable musical support but also played several of the male characters who supported the various ladies. His Coward was wonderfully observed but he could just as easily switch into a cockney accent which was far more convincing than that of Dick Van Dyke. He also displays a dry sense of humour, commenting on the lives of the ladies.
All in all, a show that is not only stylish but also fascinating and I left feeling not only entertained but a little more knowledgeable- sign of a great cabaret show.
You can sample the songs on the CD, Rebecca Caine, Leading Ladies.
Seven Deadly Sins, Opera North
The Observer, Anthony Holden
reviewed: Monday, July 23, 2007
"Rebecca Caine and Beate Vollack are both superb as the singing and dancing Annas.... Where Caine is elegant and eloquent, Vollack is agile and courageous"
Cunning Little Vixen
Peter Dyson
"Rebecca Caine seems to have been born and trained to play the Vixen; her secure lyric soprano easily encompassed the vocal line and coupled with her physical grace and incisive acting to make her an enchanting figure."
Merry Widow, Opera Holland Park 2006
reviewed: Friday, June 8, 2007
Opera Magazine, Warwick Thomson
"Rebecca Caine was marvellous as Hanna. Her firm, clear voice and excellent diction were a pleasure, and her acting was just knowing enough without ever being arch. Her timing was perfect, her jokes landed properly, and her "Vilja" was beautifully done."
The Times, Neil Fisher
" Best of all, thankfully is the Widow herself, the glamorous, magnetic, Hanna Glawari.
Rebecca Caine sings the wistful "Vilja" with silky elegance , dances with infectious panache, and gives us a multi shaded heroine to cherish - just as vulnerable as she is feisty, it's a performance to treasure, and it's one that breaks all the surface gloss to find the true emotional heart of Lehar's confection.
In a mixed season so far at Holland Park, Caine's show- stealing turn is an undoubted highlight."
The Independent on Sunday, Anna Picard
"As the eponymous heiress, Rebecca Caine slips effortlessly between artful flirtation and artless candour, looking a million dollars, and singing with a sweet , delicate soprano."
The Independent, Edward Seckerson
"Hanna, of course, should be the star of the show and was in Rebecca Caine's glamorous and beautifully sung performance. This Widow was merry all right - but she was wistful and nostalgic, too. Most importantly, she commanded respect."