NEXT TO NORMAL boho theatre
"There is much to admire about BoHo Theatre’s intimate rendition of this Pilitzer-Prize winning musical... deeply cathartic and even liberating... a beautiful work of theatre." Chicago Splash Magazine
"There’s not a finer production of this sadly poignant musical to be seen." Chicagoland Musical Theatre |
Rave reviews for Next To Normal:
"A warm and wise production... [with] stark but resonant staging... this production makes a good case that the show... deserves the kind of up-close look that the more-intimate environs of Theater Wit can offer." ★★★-1/2 Chicago Tribune "A breathtaking production... musical drama at its very finest... a grippingly honest lead performance from Colette Todd." Chicago Reader "Linda Fortunato has beautifully and fearlessly directed this flawless production... multi-layered, hard-hitting excellence... This is the part that Ms. Todd was born to play." Chicago Theatre Review |
Big Fish Theatre at the Center
"Ms. Todd has played everything from Aldonza to Annie Oakley, but this may be her very best. The songs nestle nicely in the warmth of her impressive voice. Her easy, caring portrayal of a woman who’s at once a lover, a wife and a mother is as real as anything audiences will ever see on stage. Ms. Todd’s vocal variety is shown in songs like “Two Men in My Life,” “I Don’t Need a Roof,” “Little Lamb From Alabama” and her duet with Tovar, “Daffodils,” is magical." - Colin Douglas, Chicago Theatre Review
Full Review "... the song right after gets it exactly right. ...in the moments when Todd sings how she doesn’t need a roof, one won’t need for anything else." - Patrick O'Brien, Chicagoland Musical Theatre Full Review |
"What's worth a rush-hour drive to Indiana? I'll nominate Colette Todd singing Andrew Lippa's "I Don't Need a Roof," the gorgeous Act 2 ballad that is the highlight of "Big Fish" and a song all about a woman telling her dying partner that a few shingles "dangling overhead" (or not) don't amount to hill of beans in the face of losing someone you love. Such a pleasure to hear it again, sung so well." - Chris Jones, Chicago Tribune
Full Review "Todd is a winning, welcome presence, and thoroughly believable. Her second act solo, "I Don't Need a Roof," could be transplanted to Broadway or to any theater in the country just as it is right now, so powerful, so well sung it is, so direct and expressive. Her voice made Barry G. Funderburg's expert and evocative sound design come alive in a way I hadn't noticed before in the show. Maybe she inspires the theater's very wiring!" - Paul W. Thompson, Broadway World Full Review |
Passion Theo Ubique Cabaret Theatre
"Colette Todd is beautifully cast as Clara. She surely puts herself out there as they say — even throws herself out there. You just can't play that part in this sized theater without embracing risk and vulnerability. ... Todd offers up just the right kind of optimistic exuberance, which means the fragile, perchance hollow, kind. There is that air of desperation that lovers feel, especially those playing outside the rules. You see the titular happiness; and then you see it dissolve into a life of fear." - Chris Jones, Chicago Tribune
Full Review "The cold stage heats up in the opening moments when Clara, Colette Todd, opens her mouth and fills the room with warm, sumptuous sound, singing lyrics about a moment of happiness and making the audience feel her bliss with angelic music. ... Todd and Smith’s performances are breathtaking." - Scotty Zacher, Chicago Theater Beat Full Review "Colette Todd gives hapless Clara the brittleness of an Anna Karenina – without the train spoiling the spell." - Lawrence Bommer, Stage and Cinema Full Review "Colette Todd is vocal perfection as Clara. ... There is such vulnerability in her confliction that I found myself sympathizing with Clara far more than I probably should." - Drew Shanahan, Rock Chicago Magazine Full Review |
Annie Get Your Gun Light Opera Works

"... In Colette Todd and James Rank, Light Opera Works has two marquee performers who can hit the bull's-eye. And so they do, with Todd offering up an effervescent and lovable personality to boot. ... enjoy Todd's guileless charm and brassy pipes. You do very much want her to get her gun and win her match."
- Chris Jones, Chicago Tribune
Full Review
"As Annie Oakley, Colette Todd is a master artist, whose solid, bright belt and clean, sincerely expressive soprano mixes well with a sassy spunkiness that’s perfect for this role. Ms. Todd makes an impression showcasing both her comic talents and her musical strength in songs like “Doin’ What Comes Naturally,” “You Can’t Get a Man With a Gun,” “I Got the Sun in the Morning” and the gorgeous “I Got Lost in His Arms.” - Colin Douglas, Chicago Theater Review
Full Review
"... We are treated to a vision that takes us back in time, to one Annie Oakley. They just had to do this play because of the sparkling Colette Todd, who has been delicious in every role I have seen her in, but who was born to play this role. Just watching the lovable Colette Todd is worth the price of a ticket." - Alan Bresloff, Around the Town Chicago
Full Review
- Chris Jones, Chicago Tribune
Full Review
"As Annie Oakley, Colette Todd is a master artist, whose solid, bright belt and clean, sincerely expressive soprano mixes well with a sassy spunkiness that’s perfect for this role. Ms. Todd makes an impression showcasing both her comic talents and her musical strength in songs like “Doin’ What Comes Naturally,” “You Can’t Get a Man With a Gun,” “I Got the Sun in the Morning” and the gorgeous “I Got Lost in His Arms.” - Colin Douglas, Chicago Theater Review
Full Review
"... We are treated to a vision that takes us back in time, to one Annie Oakley. They just had to do this play because of the sparkling Colette Todd, who has been delicious in every role I have seen her in, but who was born to play this role. Just watching the lovable Colette Todd is worth the price of a ticket." - Alan Bresloff, Around the Town Chicago
Full Review
Man of La Mancha Light Opera Works

Colette Todd as Aldonza. August 2012
"And Todd, with her lusty voice, her physical daring and her ferocious energy, is a searing Aldonza, bringing dramatic weight to every scene and song...” - Hedy Weiss, Chicago Sun-Times
Full Review
"...When Harms sings a line like "I have sought thee, sung thee, dreamed thee, Dulcinea!" it comes with the quality of an aching need. And that helps Colette Todd, who plays Aldonza/Dulcinea, to raise her own game and return the connection. It is, consistently, a very moving relationship."
- Chris Jones, Chicago Tribune
Full Review
"...And even more revelatory is the performance of Colette Todd as Aldonza.... the toughness of her portrayal makes the stakes of her redemption with Quixote’s help high and very real. Vocally, she knocks her songs way out of the park with the hard-to-find full-bodied soprano that the role requires. Her vocals are every bit as strong as those of Joan Diener on the original cast recording and at times you’d swear that’s who you’re listening to. " - Scotty Zacher, Chicago Theater Beat
Full Review
"Colette Todd's engrossing evolution from shrewish violence to empowered hope is the strongest force (among many pluses) in Rudy Hogenmiller's solid revival. In her rabid struggle against acknowledging any higher value for her miserable life than mere survival, this Aldonza stands in for the world's millions of denied Dulcineas." - Lawrence Bommer, Chicago Stage Style
Full Review
"But above all, it's actress Colette Todd as the spirited and languishing Aldonza, the tormented cook at a roadside inn-turned-lady-in-waiting, who brings a bounty of fresh unbridled talent with a booming songstress persona to the stage." - Philip Potempa, The Times of Northwest Indiana
Full Review
Full Review
"...When Harms sings a line like "I have sought thee, sung thee, dreamed thee, Dulcinea!" it comes with the quality of an aching need. And that helps Colette Todd, who plays Aldonza/Dulcinea, to raise her own game and return the connection. It is, consistently, a very moving relationship."
- Chris Jones, Chicago Tribune
Full Review
"...And even more revelatory is the performance of Colette Todd as Aldonza.... the toughness of her portrayal makes the stakes of her redemption with Quixote’s help high and very real. Vocally, she knocks her songs way out of the park with the hard-to-find full-bodied soprano that the role requires. Her vocals are every bit as strong as those of Joan Diener on the original cast recording and at times you’d swear that’s who you’re listening to. " - Scotty Zacher, Chicago Theater Beat
Full Review
"Colette Todd's engrossing evolution from shrewish violence to empowered hope is the strongest force (among many pluses) in Rudy Hogenmiller's solid revival. In her rabid struggle against acknowledging any higher value for her miserable life than mere survival, this Aldonza stands in for the world's millions of denied Dulcineas." - Lawrence Bommer, Chicago Stage Style
Full Review
"But above all, it's actress Colette Todd as the spirited and languishing Aldonza, the tormented cook at a roadside inn-turned-lady-in-waiting, who brings a bounty of fresh unbridled talent with a booming songstress persona to the stage." - Philip Potempa, The Times of Northwest Indiana
Full Review
Oliver! Light Opera Works

Colette Todd as Nancy. December 2012
"...The aforementioned ballads (most notably “As Long as He Needs Me”) are belted admirably by Colette Todd — a full-throated star of this company." - Chris Jones, Chicago Tribune
Full Review
"In a standout performance as Nancy, Colette Todd spreads her intense bravado with everyone she shares scenes with. Her soaring voice certainly doesn’t hurt either." - John J. Accrocco, New City
Full Review
"Colette Todd is a terrific Nancy as her wonderful voice gives Nancy hero status. Todd’s stirring ballad “As Long As He Needs Me” brings the house down with her amazingly emotional delivery." - Tom Williams, Chicago Critic
Full Review
"The real show stopper of this Oliver! Is Colette Todd as Nancy. Her rich voice and vibrant personality all poured into her shabby red dress lit up the stage every time she appeared, and her unfortunate end as the crescendo of the last act is shocking and devastating. " - Angela Allyn, Chicago Stage Style
Full Review
Full Review
"In a standout performance as Nancy, Colette Todd spreads her intense bravado with everyone she shares scenes with. Her soaring voice certainly doesn’t hurt either." - John J. Accrocco, New City
Full Review
"Colette Todd is a terrific Nancy as her wonderful voice gives Nancy hero status. Todd’s stirring ballad “As Long As He Needs Me” brings the house down with her amazingly emotional delivery." - Tom Williams, Chicago Critic
Full Review
"The real show stopper of this Oliver! Is Colette Todd as Nancy. Her rich voice and vibrant personality all poured into her shabby red dress lit up the stage every time she appeared, and her unfortunate end as the crescendo of the last act is shocking and devastating. " - Angela Allyn, Chicago Stage Style
Full Review
Aspects of Love Theo Ubique Cabaret Theatre

"...The Theo Ubique Cabaret Theatre continues its remarkably consistent run, turning out a beautifully sung non-Equity production that showcases, along with Harrington's, the formidable talents of two other women who revolve in and out of each other's love lives, the delightfully ironic Colette Todd and the remarkably intense Rochelle Therrien." - Chris Jones, Chicago Tribune
Full Review
"... Colette Todd as Giulietta, the vivacious bisexual lover of both Rose and Rose’s husband, George. If Todd’s flame-throwing take on “Hand Me the Wine and the Dice” doesn't leave you ready to chuck your bourgeoisie conventions and hop the first flight to Rio, then you just aren't paying attention." - Catey Sullivan, Chicago Magazine
Full Review
Full Review
"... Colette Todd as Giulietta, the vivacious bisexual lover of both Rose and Rose’s husband, George. If Todd’s flame-throwing take on “Hand Me the Wine and the Dice” doesn't leave you ready to chuck your bourgeoisie conventions and hop the first flight to Rio, then you just aren't paying attention." - Catey Sullivan, Chicago Magazine
Full Review