REVIEWS

“American mezzo-soprano Jane Monari played Florence Pike, in this production a Personal Assistant and general dogsbody to the imperious Lady Billows.  As a stereotypical sidekick of a bully, and bustling with ruthless efficiency, she maintains a salacious dossier on the young women of Loxford, prompting the repeated exercise of the Billows veto for May Queen.  Loyally echoing Lady Billows’ every whim and acting as herald of her assumed prerogative, the role has a few great solos and an important contralto line in some of the quartet, quintet and sextet numbers, some of which are ingeniously fugal.  A first hearing for me of a very attractive mezzo timbre.  We first see her preparing Loxford ‘Village’ Hall (to where all the action is transposed in this production) for the Parish Council meeting (think ‘Vicar of Dibley’) which fails to select a May Queen.”
-Donal Hurley, Edinburgh Music Review

“Florence, her housekeeper, sung splendidly by American mezzo Jane Monari… The solo and ensemble work amongst the whole cast was excellent both in terms of singing and acting.”
-Miranda Heggie, the Arts Desk 

“The Florence Pike of the American mezzo-soprano Jane Monari was another outstanding voice and her housekeeper made a dynamic contribution to the intricate plot.”
-Gregor Tassie, Seen and Heard International

“Their supporting cast is uniformly strong, too, if sometimes bordering on the grotesque, from Francis Church’s snarling, pious vicar to Jane Monari’s deliciously officious busybody Florence Pike…”
-David Kettle, The Stage

“The bossy Lady Billows (the magnificent Susan Bullock) and her busy assistant Florence (an energetic Jane Monari) still rule the roost….”
-Nicholas Kenyon, The Telegraph

“Every one of the singers was superb - definitely perfect casting. Susan Bullock was magnificently overbearing as Lady Billows, and Jane Monari a bustling hive of downtrodden energy as her assistant, Florence Pike.” 
-Brett Herriot, ScotsGay Arts

“Jane Monari’s beautiful voice suited the character of Miss Pike…”
-Melanie Eskenazi, musicOMH

"Every other role was handsomely taken, from the bustling and vocally glowing Filippyevna of Jane Monari to Phillip Costovski's honeyed, trick-free singing as Monsieur Triquet."
-Mark Valencia, Opera Magazine

“She was complemented by Jane Monari's centred and down to earth Filippyevna. Monari managed the difficult task of giving Filippyevna gravitas without doing self-consciously 'old' and her moments with Anderson's Tatyana before and after the letter scene were lovely.”
- Robert Hugill, Planet Hugill

“The comprimario roles remain upstage, only background to the psychological drama. Even so, they are all well cast. More imagination is required to fit the young singers into these older roles, particularly the Larina of Emily Hodkinson and Filippyevna of Jane Monari. But, beyond subtle costuming, the production makes no excuses for the singers’ youth, and vocally all are impressive. Russian pronunciation is a particular strength of this cast, especially in the supporting roles. That speaks of careful preparation from all the singers.”
- Gavin Dixon, The Arts Desk

“Jane Monari’s Filippyevna nanny role was intelligently portrayed.”
- Karine Hetherington, ArtMuseLondon

"There are fine performances from the secondary leads: Jane Monari stands out as the anguished Suzuki, loyal to the end to the deluded Cio Cio San."
- Inge Kiemtrup, The Stage

"There are fine performances, particularly the quietly compelling Jane Monari as Suzuki..."
- Kerrie Nicholson, Broadway World UK

"It paired beautifully with the wonderful tones of Suzuki (Jane Monari), who deftly portrayed Cio Cio San's companion as steadfast, yet conflicted." 
- Jill Dye, View From the Cheap Seat

"Jane Monari as the sister Suzuki is very impressive, her meek character giving way to some powerful vocals which deserve a little more airtime."
- Jo Fisher, Broadway World UK

"Her sister, Suzuki, provides one of the few truly loving relationships in the piece and Jane Monari's performance is outstanding."
- Charlotte Oliver, On: Yorkshire Magazine

"Jane Monari played the title role of Carmen. To put it simply; superb. With a full character arc, from the flirtatious young girl trying to get what she wants to the strong, independent woman and culminating in becoming a victim of a toxic relationship, Monari created a performance of exquisite beauty. A believable and beautiful character from start to finish, with a voice to match."
- Joshua Thompson, London Theatre Reviews

"Jane Monari sings beautifully as the coquettish Carmen, fighting the dreary drudge that feeds the ennui of hollow lives, today's in-work poverty not so much physical as emotional. She doesn't know what she wants, but she knows it's not this."
- Gary Naylor, Broadway world

"At this performance, Carmen was played by Jane Monari and believe me when I say that the mezzo-soprano definitely did not lack any umph vocally, every song was executed with perfection – her voice was truly sublime."
- Laura Whittingham, Musical Theatre Musings