“Jane Quinn is equally sharp as a Hollywood reporter and Hayworth’s mother.”
Love Goddess, 21/11/22, The Times – Clive Davis
“There is also some fine work from a versatile Jane Quinn as Volga, Hayworth’s cautious, practical mother.”
Love Goddess, 21/11/22, The Stage – Paul Vale
“Another notable performance is from Jane Quinn who played (almost all other roles) Young Rita’s mother, Volga Cansino. She does so with heart and a fearful knowingness.”
Love Goddess, 20/11/22, West End Theatre – Louise Benham
“Jane Quinn gets it just right as the hard-headed reporter, Jules Graham, who is Rita’s friend.”
Love Goddess, 21/11/22, London Living Large – J.C.
“The show opens the door for moments of raw storytelling within a standard musical context. This is particularly utilised in early scenes between a young Rita and her mother which are tenderly handled by Quinn.”
Love Goddess, 23/11/22, Pocket Size Theatre – Stephanie Osztreicher
“I also particularly enjoyed Jane Quinn’s Jennyanydots. Cats have nine lives – but these ones will surely live forever.”
Cats, 28/10/15, London Palladium, The Telegraph – Rupert Christiansen
“There are irresistible turns from…and Jane Quinn.”
Free As Air, 7/10/14, The Stage – Mark Shenton
“Quinn excels as Ivy Crush, ‘the smart reporter’, with her spot on delivery of ‘Daily Echo’ and ‘Holiday Island’.”
Free As Air, 8/10/14, Musical Theatre Review – Adrian Edwards
“Jane Quinn delightfully epitomises all the Broadway hopefuls who toil for years in the background – indicating a photograph of Angela Lansbury dancing the title number in Mame, she announces that if you look at the third girl on the left, ‘I’m behind her.’ ”
A Class Act, 3/4/13, Classical Source – Tom Vallance
“Jane Quinn’s Lucy, in love with Kleban, plays both passion and poignancy in perfect proportion.”
A Class Act, 31/3/13, What’s Hecuba to Him? – Jonathan Grant
“There is a particularly touching performance from Jane Quinn as Lucy, who falls for Kleban’s talent at the same time as the audience, when she hears his enchanting “Paris Through The Window”.
A Class Act, 28/3/13, Musical Theatre Review – Paul Vale
“Each character was played with sensitivity and truth. A particular highlight came from Jane Quinn as Lucy.”
A Class Act, 27/3/13, The Public Reviews – Carrie Carter
“Jane Quinn, who plays the organised, enthusiastic Lucy, deserves particular credit for her heart-breaking, genuine sorrow and grief as she read the will.”
A Class Act, 25/3/13, Fringe Review – Constance Bamford
“The cast apply themselves professionally and in particular Jane Quinn proved natural ability really is everything.”
Little Women, 16/12/11, Remotegoat – Russell Lucas
“The stop-start, jazz hands choreography flares excitingly and the unamplified voices range from good to stunning – notably the operatic Jane Quinn as crazy-faced Jenny.”
Company, 23/05/09, Daily Express – Simon Edge
“On the subject of voices and aplomb, Jane Quinn (Jenny) has phenomenal range of pitch and timbre, switching from cutesy straight-laced New Yorker Jenny (both sober and stoned) to the Mother Superior of Choristas.”
Company, 22/05/09, The Public Reviews – Leon Trayman
“Strassen has gathered together a highly talented ensemble who evidently find the whole affair a delightful experience judging by the way they embrace each role. Jane Quinn as Jenny proves to be a star turn.”
Company, 22/05/09, The Stage – Paul Vale
“Jane Quinn’s memorable voice is a rich addition to the ensemble as Jenny and the operatic commentary to Amy’s ‘Getting Married Today.’ ”
Company, May 2009, The British Theatre Guide – Sandra Giorgetti
“The production was also characterised by strong singing, not least from Jane Quinn in Bless This Day whose purposely exaggerated warbles didn’t mask her fine operatic voice.”
Company, May 2009, Music OMH – Sam Smith
“This was a warm-hearted, well-dressed show, with good performances from a sunny cast, especially Jane Quinn as the charming Fortune Teller.”
Beauty And The Beast, 17/12/08, The Stage – Richard Edmonds
“There were outstanding vocals from Aladdin (Jane Quinn), she had a strong voice, looked great and added a warm sparkle to the glittery show.”
Aladdin, 2008, The Courier – John Howes
“The Grisettes of Chez Maxim are good singers, good dancers and all round, good looking! A hit on the stage and with the audience.”
The Merry Widow, July 2006, Music OMH, Classical and Opera – Gareth Webb
“Quite the most bonkers performance of the night was Jane Quinn as Miss Lynch who remained in character even during the encore. Although well under 40, Jane played the school’s headmistress with the geriatric energy of a rampant arthritic granny on drugs. Barking mad but hilarious – my companion was in stitches.”
Grease, 14/12/2004, BBC Birmingham – Suzanne Worthington
“Jane Quinn once again gives a great and amusing performance as Miss Lynch.”
Grease, 14/12/2004, Site Reviewer – Clive Fuller
“But the hidden stars of the show were…eccentric teacher Miss Lynch (Jane Quinn).”
Grease, 1/6/2004, The Gazette Blackpool – James Higgins
“Jane Quinn gives a great and amusing performance as Miss Lynch”
Grease, 31/3/04, Whats On Stage – Clive Fuller
“There were innocent comedy contributions from…Jane Quinn (Miss Lynch) who, though just a grown-up, turned a dancing leg as good as any of the young’uns.”
Grease, 29/3/2004, Cardiff Review – Michael Kelliga
“There is also some excellent talent tucked away among the supporting cast, most notably Jane Quinn as Miss Lynch, the teacher who has the unenviable job of judging the dancing at the High School Hop.”
Grease, 4/3/2004, Oxford Review – Paula Clifford
“Yet several women, Jane Quinn especially, provide raucous recruitment singing, making clear the hollow pro-war bravado behind this way of attracting men to government-sponsored death. It was an aptly tough approach.”
Oh! What A Lovely War, 8/2/2003, Reviews Gate – Timothy Ramsden
“Quinn’s voice in particular is powerful and evocative of the era when the message from women was, ‘We don’t want to lose you, but we think you should go’”
Oh! What A Lovely War, January 2003, Western Mail – Gail Cooper
“Her voice was magnificent”
Princess Of Wales Memorial Fund Concert, 29/3/2001 – Elisabeth Bolnma
“There were some very creditable performances of difficult roles, particularly Jane Quinn as Mrs. Lovett.”
Sweeny Todd, 1999, Edinburgh Fringe – One 4 Review
“The Show needs superb singers who can act, as well as actors who can sing. In the two portrayals of the central characters, this production has exactly the right balance of stage presence and dramatic voices for these depictions of depraved morality. Mrs Lovett, who turns to Sweeny’s production line for help with business is played with manic energy and ghoulish relish by Jane Quinn”
Sweeny Todd, 18/8/99, Edinburgh Fringe – The Scotsman
“Mrs Lovett in particular was a fine performer, her acting and singing providing the duel highlights of the production.”
Sweeny Todd, August 1999, Edinburgh Fringe Musical Stages – Michael Stevens
“A star lead, Jane Quinn as Mrs Lovett, the pie-making accomplice. When Jane Quinn began to sing in mighty Cockney of the worst pies in London, the show took off and all of her duets with Stuart R. Smith – her calculations under her warm maternity, made you shiver at the bleak desperation in their music-hall songs, as holding on to each other in need and affection and shared crime they drown in the abyss of no going back.”
Sweeny Todd, August 1999, Edinburgh Fringe, Full Moon Vol. 5, No.4, – K.B. Player
“Mrs Lovett’s pies might have been the worst in London, but Jane Quinn’s portrayal must surely have been one of the best in Edinburgh. With her flour-daubed red bodice and hair braided into devil’s horns, she gave a compelling performance that was a delight to watch.”
Sweeny Todd, August 1999, Edinburgh Fringe, The Sondheim Review – Susan Weir
