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IN REVIEWS

Mono/Poly

…with her twists and turns, the married Henrietta as played by Angela Sauer demonstrates the production’s most range.

– Ed Rampell, Hollywood Progressive (October 11, 2019 – Subversive Rom Com: Do Triads Try Anything?)

…standout Angela Sauer drives a lot of the emotional arc in the play. Her character of Henri seems at first a snide H.B.I.C. but we see her emotional army and her soft center.

– Christian Cintron (October 2019, Better Lemons)

Venus in Fur (Ophelia’s Jump)

There are several reasons why this two-actor production looks so seamless: First is the manic energy that comes from performer Angela Sauer. Then there’s a striking authenticity that Ophelia’s Jump brings to David Ives’s 2010 comedy of sexual politics, an after-hours theater audition of a mercurial actress (Sauer) by an unwittingly misogynistic male playwright-director.

– Steven Leigh Morris, Stage Raw (February 21, 2019)

How I Learned to Drive

As Li’l Bit, Angela Sauer gives a thoroughly touching performance. She effortlessly glides between time periods as the play switches events in what seems to be a random pattern, which is exactly what she is doing as she recalls various incidents from her past. She jumps from adult to a girl of 11 to adult then to a teenager of 17 with the ease of an Olympic pole vaulter. Watching her face freeze in fright when her uncle touches her in a way no uncle should, says more than an entire page of dialogue ever could about the trauma she is experiencing. Ms. Sauer delivers many such magnificent moments. It is a performance not to be missed.

– Stephen Radosh, Gay Desert Guide (October 29, 2018 – HOW I LEARNED TO DRIVE – A Review by Stephen Radosh)

The play set in rural Maryland in the 1960’s follows the strained, sexual relationship between Li’l Bit (a sensational Angela Sauer), and her aunt’s husband, Uncle Peck (a crafty Dennis Gersten), from her pre-adolescence through her teenage years into college and beyond.

As good as this impressive production is, however, the evening belongs to Angela Sauer and Dennis Gersten. The two leads are always in their moments. Their on-stage chemistry is palpable. We are drawn into this “Lolita-like play” whose scenes are handled with extreme care. Ms. Sauer’s performance is a study in on-stage body movement and subtle shifting of young and confused emotions in her delivery as Li’l Bit. It’s a memorable performance from a mature woman convincingly portraying characters ranging from 11 years old to 21. I still remember Ms. Sauer’s stunning performance as Vanda in “Venus in Fur” last season at CV REP.

– Jack Lyons, Desert Local News (October 31, 2018, Potent and Relevant Drama “How I Learned to Drive” at CV Rep Theatre, Rancho Mirage)

…ripped from the childhood memories of our protagonist, Li’l Bit, in a searingly heartbreaking performance by Angela Sauer. Sauer effortlessly bounces back and forth through Li’l Bit’s adolescence as she randomly recollects memories of her Aunt Mary’s husband, Uncle Peck (Dennis Gersten), grooming her in the guise of teaching her to drive.

Sauer’s portrayal of Li’l Bit is terrific

– Kay Kudukis, Broadway World (October 28, 2018 – BWW Review: HOW I LEARNED TO DRIVE at CV Rep Theater is More Than Worth the Trip)

Angela Sauer is ‘Li’l Bit,’ whose non-linear memories span the ages of 11 years through 35 as she reveals the incestuous relationship that was prevalent in her life until she was able to break away at the age of 18. […] Sauer performs the role of the protagonist with perfect nuances of realization and revelation. One of Sauer’s most notable skills as an actor is her ability to move this character between varying ages and aspects, without ever losing the unifying connection of how this abuse impacted the child and the woman. Not just revealing the incest, but the sexual harassment that girls often face as a common and accepted part of growing up female.

Sauer and Gersten bring the varying hues of human nature to life with their incredible performances.

– Dee Jae Cox, Coachella Valley Weekly (October 31, 2018 – A Stage Review of ‘How I learned to Drive’)

Sauer adroitly takes her character back to when the abuse began, at age 11, while giving “Li’l Bit” a strong feminine voice to tell her own story.

– Bruce Fessier, Palm Springs Desert Sun (October 30, 2018 – Palm Springs Pride weekend has a lot going on.)

It takes a while for the story to come forward as we see Uncle Peck […] patiently stalking his niece “Li’l Bit,” intricately portrayed by actress Angela Sauer.

– Valerie-Jean (VJ) Hume, CV Independent (October 28, 2018 – A Revelatory Show: CV Rep’s Season-Opener ‘How I Learned to Drive’ Powerfully Tackles the Topic of Sexual Abuse)

Venus in Fur (Coachella Valley Repertory)

Stella Adler said; “Actors need a kind of aggression, a kind of inner force. Don’t be only one-sided, sweet, nice, good. Get rid of being average. Find the killer in you.” There’s little doubt in the mind of anyone who sees Coachella Valley Repertory’s production of “Venus in Fur,” that actress Angela Sauer has found the inner killer in her performance as the brash, sassy, New York Actress, Vanda Jordan. Sauer has the astounding ability to instantaneously transform characters, as she jumps between roles as easily as flipping a switch. Her brilliant performance is most certainly one of the primary reasons to see this show.

– Dee Jae Cox, Coachella Valley Weekly (November 1, 2017 – A Stage Review Of ‘Venus in Fur”)

Ms. Sauer attacks the role of Vanda in a bravura performance of an actor who knows all of the tricks of the acting trade.

The on-stage chemistry between Ms. Sauer and Mr. Zeller is literally palpable. Their performances fully engage the audience…

I reviewed the original Broadway show in New York in 2011, starring Nina Arianda and Hugh Dancy, with Arianda winning the Best Actress Tony… Comparisons are odious at best, but I wouldn’t exchange this talented pair for any who have performed the play. Angela Sauer as Vanda and Patrick Zeller as Thomas, simply put are sublime.

– Jack Lyons, Desert Local News (October 31, 2017 A Flawless Riveting “Venus in Fur” on Stage at CV Rep Rancho Mirage)

In one of the evening’s most startling and brilliant moments, Ms. Sauer makes an instantaneous and total transformation… Totally gone is the somewhat awkward and desperate Vanda the actress. Like a feat of brilliant magic she is instantaneously and totally replaced vocally and physically with the regal and commanding Vanda of the script. It is the speed and totality that makes the moment one that sent shivers down my spine. It is clear from her very first line as the Vanda she is auditioning to be that her performance will be not only good but transcendent.

A lot of the credit for making the uninterrupted 90 minutes of VENUS IN FUR the mesmerizing piece of theatre that it is must go to the exceptional pair of actors, Angela Sauer and Patrick Zeller, who maneuver through the ebbs and flows of the play with all the skills of 2 champion surfers. They generated so much sexual heat onstage that I was sure the fire sprinklers would burst into life at any moment.

– Stephen Radosh, Gay Desert Guide (October 29, 2017, Venus in Fur, A review by Stephen Radosh)

The actress, Vanda, is played by Angela Sauer, whose bouncy auburn hair sets off a beautiful face that shifts endlessly with her astonishing variety of emotions. You can’t take your eyes off her … not just because of the garters and lacy lingerie and black stockings and high heels, but because of her rapid switches from one personality to another. She snaps in and out of character: now a cranky actress and next a demanding director and then a radiant goddess Aphrodite and now a haughty countess and suddenly a smoldering dominatrix. Her vocal talents will surprise you—she gives each of her roles a special voice, with pitch, volume, speed, placement and even regional accents changing.

– Valerie-Jean (VJ) Hume, CV Independent (October 29, 2017, Casting Chaos: CV Rep’s Fantastic ‘Venus in Fur,’ With Its Sexual Power Dynamics, Could Not Be More Timely)

Ms. Sauer must keep the two characters separate – and thanks to her expertise […] the audience can tell immediately who is talking; Vanda, who brims with hyperactivity, speaks rapidly, in a high-pitched voice, while Wanda moves languidly and gracefully, speaks in a low, sultry register, and wears different facial expressions.

…in a two-second span, she successfully navigates between Wanda (the nineteenth century widow) and Vanda (the actor), and back.

I found it a pleasure to watch the two highly accomplished Equity actors engage in their cat and mouse game.

– Audrey Liebross, Broadway World (October 31, 2017 BWW Review: CVRep Presents an Excellent Production of a Disturbing Play)

Figaro

“”…his engaging cast embraces the mischief and mayhem without a weak link. Jeremy Guskin and Angela Sauer are well matched, he brash, she wily, as Figaro and Suzanne, giving their maneuvers to subvert his boss’ plans to seduce her on their wedding night an escalating comic velocity.”

“…an ensemble that knows just how far to push for laughs and gets them, resulting in a knee-slapping blast.”

Critic’s Choice

– David C. Nichols, LA Times (March 13, 2015 – Critic’s Choice: A ‘Figaro’ that crackles and pops at A Noise Within)

“Angela Sauer‘s Suzanne provides a most suitable foil to this Figaro – strong, sardonic, and wise.”

“‘Figaro’ seems destined to be a solid hit. It’s just that funny.”

– Frances Baum Nicholson, Whittier Daily News (March 10, 2015 – Review: A Noise Within’s ‘Figaro’ is French farce done right)

“…a wily and saucy Angela Sauer…”

“This production is sure to be remembered as one of the funniest of 2015. Don’t miss it!”

Five Stars

– Rob Stevens, Haines His Way (March 11, 2015 – Figaro reviewed by Rob Stevens)

“The acting is exquisite across the board – what a tremendous comedic ensemble!”

“…Sauer‘s playful and powerful Suzanne…”

“The farce and wit of the story and rendering is enough reason to see the show. The acting and intelligent direction push the play to the realm of delight. And the design and playful opulence are the theatrical cherry on top.”

Recommended

– Vanessa Cate, Stage Raw (March 12, 2015 – Figaro Reviewed by Vanessa Cate)

“Director Michael Michetti has assembled a superbly talented cast to tell the tale of servant, Figaro (delightful Jeremy Guskin), who must outwit his master, Count Almaviva (Andrew Ross Wynn in a winning lascivious performance), so he can marry his fiancé Suzanne (gamin Angela Sauer) who serves Countess Almaviva (vivacious Elsye Mirto).”

“Plenty of sexual innuendo, brilliant physical comedy (especially the kiss-go-round with the gals and Cherubin) and exceptionally funny vocal gymnastics such as the “in the garden” sequence make this a dazzling show.”

Five Stars

– Candyce Columbus, Examiner (March 9, 2015 – Chock full of fun “Figaro” is a fast-paced, colorful and witty romp)

Othello

“Sauer, whose flawless clarity and steadily growing intensity make Emilia – properly – the heroine of the tale. She is an actor I cannot wait to see again.”

“And at the climax, it is not innocent Desdemona who brings me to tears but Emilia. Her world is swiftly and sharply torn from her, yet she holds true to herself and her one surviving love, amid disillusion and death. ‘That,’ I realize, ‘is how I hope to live — and die.'”

– Mark, Theatre Ghost (November 3, 2014 – Tragic in Black and White: The Illyrians’ “Othello”)

“Angela Sauer‘s Emilia gives that part its full potential weight for the first time in my experience. Not an accident that in this horrific tragedy that unfolds, so many tears as well as so much blood would have gone un-spilt had anybody asked for the low-born woman’s counsel.”

– David MacDowell Blue, Night-Tinted Glasses (November 4, 2014 – Othello (review))

“If all […] actors had the vocal presence and command of the language that Angela Sauer (Emilia) had”

– Ellen Dostal, BroadwayWorld (November 11, 2014 – BWW Reviews: The Illyrian Players Take on OTHELLO)

Lovecraft: Nightmare Suite

“Angela Sauer sent chills through my body as she details her life in a seedy rooming house in NYC.”

– Rose Desena, The Los Angeles Post (February 4, 2014 – “Lovecraft: Nightmare Suite” Review by Rose Desena)

“Superb acting paired with great storytelling…”

“The entire cast gives excellent performances throughout—this is a highly entertaining evening that is worth seeing.”

“…a troupe of high caliber actors who expertly relate the macabre stories with just the right amount of (occasional flashes of) humor to offset the mostly chilling tone of ineffable horror.”

– Pauline Adamek, Arts Beat LA (February 3, 2014 – “Lovecraft: Nightmare Suite” – spooky horror at the Lex – Los Angeles theater review)

“It makes for an almost refined version of wandering through a house of horrors on Halloween, one that eschews any cliches involves rattling chains or powered up chainsaws.”

“…a worthy and entrancing odyssey into fears we don’t expect.”

– David MacDowell Blue, Night-Tinted Glasses (February 6, 2014 – Lovecraft: Nightmare Suite (review) REDUX!)

Timon of Athens

“Angela Sauer as Lucullus almost stole the show.”

– M. Jarrett Christensen, The Tolucan Times (May 9, 2013 – Timon of Athens)

“The ensemble has wonderful female performers that include some witty and sharp characterizations (playing multiple Shakespearean roles), including Angela Sauer as Lucullus and Phrynia”

– NoHo Arts District (May 8, 2013 – Porters of Hellsgate Theatre Company Is Back With Shakespeare And It’s The Bomb!)

Boeing Boeing

“Sauer sizzles as the super sexy and fiery Gabriella. She’s the most sympathetic, albeit ignorant, character in the play. Beyond looking stunning, and, like the other two fiancées, she does, Sauer exudes star power by refusing to allow her relatively small role to get lost in the speedy shuffle. When Gabriella demands something, you take notice.”

– Wade Tatangelo, Bradenton Herald (January 22, 2011 – Asolo Rep soars with ‘Boeing Boeing’)

“Angela Sauer is drop-dead gorgeous as Gabriella, the Italian stewardess in an Op-Art dress (and stockings) you’d best put on sunglasses to look at. Fine comic timing.”

– Marty Fugate, Critic on the Run (January 22, 2011 – ‘Boeing Boeing’ Takes Off)

“Gorgeous, Angela Sauer alternates between cajoling and cuddly as Gabriella, who can be sexy even in a ‘psychedelic’ uniform.”

– Marie J. Kilker, Aisle Say (January 22, 2011 – Aisle Say: Boeing Boeing)

“Angela Sauer rings true as an emotional, loving Italian.”

– Paula Atwell, Pelican Press (February 4, 2011 – Lots of boing going on)

“Angela Sauer is fetching as the Italian Gabriella”

– Jay Handelman, Sarasota Herald-Tribune (January 22, 2011 – REVIEW: ‘Boeing’ flies in some laughs)

“Expect effervescent performances by actresses Angela Sauer, Kate Hampton and Kim Hausler.”

– Heidi Kurpiela, Longboat Key Observer (January 26, 2011 – Hot Tickets: ‘Boeing Boeing’ at Asolo Rep)

Machinal

“This is a white hot production. The young actors bled their lives, souls and hearts into this thing.”

– Marty Fugate, Critic on the Run (March 3, 2010 – Welcome to the Machine)

The Mystery Plays

“Angela Sauer is a lot of fun as Joe’s ebullient agent”

– Jay Handelman, Sarasota Herald-Tribune (October 29, 2009 – Review: Conservatory Builds a Mystery)

“Good turns by […] Angela Sauer as a hard-boiled, fast-talking agent (is there any other kind?)”

– Kay Kipling, Sarasota Magazine (October 29, 2009 – The Mystery Plays)

The Comedy of Errors

“Kevin Asselin, as Antipholus of Syracuse, and Angela Sauer, as Adriana’s sister, Luciana, pair up for a stunning performance of a scene in which Antipholus falls in love with Luciana.”

– Andrew S. Hughes, South Bend Tribune (August 18, 2006)

Anne of Green Gables

“Adding to this array of good performances, Angela Sauer as Anne’s ‘bosom’ friend Diana is right on the mark”

– Tom Helma, Lansing City Pulse (July 13, 2005)

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