Could Kate Baldwin, the redheaded firecracker who detonated in the 2009 Broadway revival of Finian’s Rainbow have been a rock star? That possibility was broached on Friday evening at 54 Below, where Ms. Baldwin opened her new cabaret show... The show cast an unusually wide stylistic net that encompassed Irish traditional songs (“Parting Glass”), the Dixie Chicks’ wild, freewheeling “Sin Wagon,” (sung with her special guest, Katie Thompson) and Stephen Sondheim’s weightier reflections. As the show proceeded, her voice steadily opened up and crested with near-operatic renditions of “When Did I Fall in Love?” and “How Are Things in Glocca Morra?” The show’s high point was “I Don’t Need a Roof,” Andrew Lippa’s profession of devotion through thick and thin from the short-lived Broadway show, Big Fish, in which Ms. Baldwin co-starred with Norbert Leo Butz.
— Stephen Holden, The New York Times
Leading lady Kate Baldwin brought her new act Sing Pretty, Don’t Fall Down to 54 Below May 15. We suppose there are some things that Baldwin cannot do, but over the past decade we have yet to see her be anything but superb. Give her a song with lyrics by Harnick, Hammerstein or Harburg and expect musical comedy singing — and acting — of the purest level.
— Steven Suskin, Playbill

Entertainment Weekly's Bullseye, October 18, 2013
"Kate Baldwin: a thing of beauty in Broadway's Big Fish."




"...played with her usual lush magnetism by Kate Baldwin, who drapes her beautiful voice in a smooth Southern accent."

 Charles Isherwood, The New York Times

"Ms. Baldwin is terrific as Tammy, a woman who knows how to exude public charm but who also shows herself to be a manipulative narcissist, not to mention a lousy mother."

— Howard Miller, Talkin' Broadway

"Baldwin chews just the right amount of scenery as the monstrously self-involved Tammy Jenna Scherer." 

— Time Out New York


"That they achieve their metamorphoses with such unforced charm makes John & Jen, limpidly directed by Mr. Silverstein, worth a visit for aficionados of deft acting in musicals. Ms. Baldwin, who has appeared on Broadway in Finian’s Rainbow and Mr. Lippa’s Big Fish, confirms her status as a silver-voiced singer of engaging emotional openness, while revealing a light comic touch she hasn’t had much chance to display before. "

—  Ben Brantley, The New York Times

"Kate Baldwin casts a warm glow whenever she sings."

 — Joe Dziemianowicz, NY Daily News

"Any production that allows you to bask in Baldwin’s velvety soprano for a few hours is a plenty worthy one."

 Jason Clark, Entertainment Weekly 


"Ms. Baldwin, statuesque in Ann Hould-Ward’s sumptuous costumes, and in beautiful voice, is luminous."

— The New York Times

"Baldwin excels as she delivers dry one-liners and proves a versatile vocalist, especially compelling in smoky chanteuse mode singing 'Allez-Vous En.'"

—  NJ Star-Ledger

"When you hear Kate Baldwin, as the nightclub owner Pistache, rendering two of Porter's most exquisite songs, "Allez-Vous En" and "I Love Paris," in an exquisite voice, you have — decidedly — gotten your money's worth... played with brassy good humor.."

— NorthJersey.com

"Baldwin has a delivery that’s droll and drier than the best Sauvignon Blanc. She’s delightfully matter-of-fact when alluding to sex and views the Puritanical ways of the world with resignation and no bitterness. Fanny Brice in “Funny Girl” brags that she has “36 expressions.” Baldwin easily matches her, and each is put to good use. She’s got the voice to put across the songs, too..."

— Peter Filichia, Daily Record

"Tony nominee Kate Baldwin shows off her sexy side (and her phenomenal pipes) as Pistache, the owner of the Montmarte nightclub that gets in trouble with the law for allowing her dancer girls to show their ruffles by dancing the forbidden titular dance."

— Broadway.com


"Equally excellent are Rowat and Baldwin, who are married in real life, as the Count and Countess. Baldwin’s Charlotte compels both our sympathy and our respect, as the character’s broken anguish vies with her attempt to hold on to her dignity. When Baldwin and Soo team up for “Every Day a Little Death,’’ a song about the humiliations and disappointments of married life, it seems to expand to an existential lament, and you can hear a pin drop inside the Colonial Theatre."

— Boston Globe

"Kate Baldwin brings a spit, fire and wry defiance as her Charlotte sets out to bring her strutting, rutting peacock of a husband, played convincingly by Graham Rowat, back to reality and her bed."

The Berkshire Eagle


“...played with well-deep reserves of endurance and charm by Kate Baldwin...” 

— Bloomberg News

“Baldwin brings charm and serene graciousness to Sandra, making her a useful peacekeeper between Edward and Will...”

 — Hollywood Reporter

“Kate Baldwin looks and sounds positively enchanting.” 

— NY1

“The radiant Kate Baldwin is underused as his sympathetic wife, though she brings her silken voice to the beautiful second-act ballad, ”I Don’t Need a Roof”—one of the highlights...” 

— Entertainment Weekly

“Baldwin's torch song "I Don't Need a Roof" is a shimmering gorgeous thing, with her just cradling her ill husband, teary proof of her acting and singing chops.”

 Associated Press


“Baldwin glows… and evokes the toughness and stick-to-itiveness of a woman who realizes that she has bought into a less than perfect dream.”

Elyse Sommer, CurtainUp

“A tour de force performance by Kate Baldwin”

Jennifer Farrar, Associated Press

“Baldwin is a special joy, singing and acting in a manner reminiscent of Barbara Cook”

Steven Suskin, Variety

"Kate Baldwin delivers a masterful and MUST-see performance in the Elizabeth Taylor role. Kate Baldwin is a superstar!"

 Perez Hilton


“Kate Baldwin… is an absolute knockout. If Mary Martin was any better than this…well, let’s just say that I don’t see how she could have been. Not only is Ms. Baldwin a charismatic actor, but her concert-quality singing is as good as you’re ever going to hear in a musical.”

Terry Teachout, Wall Street Journal


“Ms. Baldwin’s cool, pure soprano gently rides the crests of the undulant melody, tugging at each question in the lyric with a sensitivity that perfectly expresses the song’s tender, yearning essence. The tune is folk-simple, the words drenched in stock ideas of Irishness, but as performed with both sophistication and sincerity by Ms. Baldwin, it has the distilled beauty of an art song.”

Charles Isherwood, The New York Times

“Baldwin is a revelation. A Maureen O’Hara-type beauty with an agreeably feisty manner and a crystal-clear soprano.”   — David Rooney, Variety

“Best of all is Kate Baldwin. Ms Baldwin is the real deal, a rich-voiced soprano who can also act.”

Terry Teachout, Wall Street Journal


“Kate Baldwin’s Mary is sweet and smart, vulnerable yet strong. Even when the claws finally come out, her Mary retains a sense of self and seems to float above the base antics of the others.”

— Jennifer Chung Klam, San Diego Union-Tribune


“Kate Baldwin’s Charlotte… is a sillier, broader creature than is observed in most productions.And it works: Her devotion to the equally silly Carl-Magnus, played by Caulfield with hyper-swagger, makes a lot more sense than it does in more dignified portrayals.”

Peter Marks, Washington Post


“As that love, Amalia Balash, Kate Baldwin is surprising in a different way. At first she seems just pretty and pert; only slowly do we notice how shy, smart, and yearning her Amalia is. All that, and a full, vibrant singing voice, too – she’s a joy.”

Louise Kennedy, Boston Globe