"It is not easy to sing badly when you actually are able to sing, but Osborne makes it appear easy, and that’s very impressive. Singing flat and dreadful is rarely amusing. Osborne make it hysterical, and the fact that she is able to keep Jenkins sympathetic as well as pathetic, balancing the buffoon with a child-like innocence, is an artistic triumph.
— Matthew G. Moross, The Daily Gazette
read more here
Georga Osborne’s Jenkins sails through life with a sunny optimism, which makes her ghastly singing all the funnier. Osborne, who has played Jenkins before ... sings badly very, very well; it’s impressive as a technical feat, especially when, at the end, in a fantasy sequence, she beautifully sings Gounod’s “Ave Maria.”
— Steve Barnes, Times Union
“Georga Osborne plays the tone-deaf Florence Foster Jenkins with warmth and blind ambition.... Scene after scene ... the hilarity builds. By the end of the show there’s no way you can love her more, then the curtains open for her final scene and Osborne shines brighter than the brightest star.”
— Will Gallagher, Discover Albany
"The synergy between these two is simply spectacular.... the casting is superb, and acting is second to none. Cohen and Osborne are crisp in their delivery of humor and song. You will laugh from start to finish, but this show interjects humor and mixes it with real musical talent."
— Richard DiMaggio, didyouweekend.com
"And it’s easy to laugh at the woefully off-key, off-tempo singing of Jenkins as deftly portrayed by Georga Osborne with a perfectly straight face. In fact, it’s impossible not to laugh. Capital Rep was filled with gales of laughter every time she launched into an aria."
— Greg Haymes, Nippertown
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“Georga Osborne plays Florence with a fierce focus on her 'art', an oblivious condescension for — mixed with loving dependence on — her accompanist, and a voice that makes one wish for fingernails on chalkboards. It’s an acting triumph that makes us both loath and love such a forceful yet vulnerable character. Osborne, in fact, has a lovely voice with exact pitch and control that makes her acting the part of Florence all the more remarkable!”
— Sue & Chuck Bingaman, The Vermont Journal
“Georga Osborne portrayed Foster Jenkins as an elegant, passionate and compassionate middle-aged woman, sure of her mission. A trained singer, Osborne managed the difficult job of singing as badly, possibly worse, than Foster Jenkins. But Osborne was also successful in revealing the heart of this special woman who gave her gift to charity.” Georga Osborne portrayed Foster Jenkins as an elegant, passionate and compassionate middle-aged woman, sure of her mission. A trained singer, Osborne managed the difficult job of singing as badly, possibly worse, than Foster Jenkins. But Osborne was also successful in revealing the heart of this special woman who gave her gift to charity.
— Jim Lowe, Rutland Herald
"Funny girl Georga Osborne couldn't be more at ease than she is on stage. Osborne delights in entertaining, and her wonderful combination of comedy and thoughtful singing is a breath of fresh air. If you haven't seen her, treat yourself."
— David Hurst, Show Business Weekly
"Georga's talent is mind-boggling. Her voice has an astonishing range of tone, volume and feeling. She's a talented actress and a comedienne extraordinaire."
— Mary Katherine DeLong, Taos News
“Georga Osborne demonstrates the crucial difference between simply doing funny material and being funny doing it. She’s funny...”
— Roy Sander, Back Stage
“Georga has the uncanny ability to be unequivocally hilarious and as dramatic as Broadway’s finest.”
— Andrew Martin, CaB Magazine
“… thanks to Osborne's vocal talents and her warm, engaging patter, it [Rosemary & Time] was highly entertaining.”
— Barbara & Scott Siegel, Theater Mania.com
“… her intrinsic knowledge of what goes into great cabaret is apparent.”
“A sparkling personality and one sensational soprano belt!”
— John Hoglund, New York Native
“If there was a stellar moment in the show it was provided by the next performer, Georga Osborne. ... the number soon had the audience in full uproar of delight..."
— Stu Hamstra, Cabaret Hotline Online
(Cabaret Convention at Town Hall, NYC)
“The vivacious redhead… is an incredibly likeable personality who has great spirit… the real joy comes in the rarely predictable comic numbers…”
— The Stage (London)
“Osborne is one of those ‘crossover’ stars, from opera to cabaret, who, unlike certain others, succeeds in every repertoire because she knows how to complement not conquer the material…”
— Cabaret Showcase (London)
"She is arguably one of the funniest entertainers around."
— Elizabeth Ahlfors, Cabaret Scenes
“… one helluva funny girl … this winning musical comedienne … has this wild sense of humor…”
— The Stage (London)
"Summer In The Attic (Some're Not) is a fun show full of seasoned talent, creative comedy and delightful surprises. Osborne has a voice that will knock your socks off.”
— Laurie Lawson, Electronic Link Journey
“… a musical comedienne who’s wildly hilarious.”
— New York Daily News
— David Finkle, Back Stage
“… at once human and awe-inspiring, almost a force of nature.”
— Thomas B. Harrison, Mobile Register
“Parodying bad performance by performing off-key and out of tempo to the extreme, with or without disastrous musical arrangements is tricky. It can be just painful or run out of steam. Many characterizations of tone-deaf, rhythm-challenged lounge lizards abound here. Long ago, such performers were parodied by the fine pop singer Jo Stafford and musician husband Paul Weston as the characters Jonathan and Darlene Edwards and I find that hilarious. These days, in the same way, singer Georga Osborne can do the same thing in her recreation of novelty singer Mrs. Miller. They find a way to make it more entertaining, perhaps because I know they are expert when playing it straight and find affection for their targets…”
— Rob Lester, Talkin’ Broadway
Photo by Douglas C. Liebig