PRESS
“In case you haven’t already, you should now officially put Sarah Rudinoff at the top of your ‘Reasons to See Live Theater’ list. Rudinoff’s oafish, tyrannical man-child is at the center of a savage, pop monarchy, with the subversive energy of a cartoon. Rudinoff goes at it like some foul-mouthed refugee from Hanna-Barbera—large, lewd, and fiercely unassailable. You can’t take your eyes off of her. She gives a performance so entertaining you know everyone else will get a kick out of it, but so filled with singular pleasures you’ll swear you’re the only one who really knows what makes it work.”
— Steve Wiecking, Seattle Metropolitan Magazine
(Reviewing “UBU” at The Empty Space)
“Offering a spectacular diva turn: Sarah Rudinoff went off like fireworks as brassy cab driver Hildy. She delivers her big number, ‘I Can Cook Too,’ with a trumpeting, ebullient energy in one of the most exhilarating musical-comedy solo turns I’ve ever seen.”
— Gavin Borchert, Seattle Weekly
(Reviewing “On the Town” at the 5th Avenue Theatre)
“Rudinoff is a revelation… whether she’s explaining the peculiarities of growing up Jewish in a strictly Christian Midwestern neighborhood or recounting her alienating grade-school obsessions. This is Kron’s story, but Rudinoff melds with the material so completely, it might as well be hers.”
— Dusty Somers, The Seattle Times
“What I can tell you here, is the night belongs to Rudinoff and Dirickson. These two great ladies of the theatre are from decidedly different generations in this world, but onstage, they are family. Rudinoff’s Lisa seems altogether the creator of the world she is struggling mightily to make in front of us. Lisa Kron would be proud of this production indeed. Look for her in the audience–oh never mind, she is being channeled by Sarah Rudinoff.”
— Sarah Woolf, Drama in the Hood
(Reviews for “Well” at The Seattle Rep)
“The pretty much universally beloved Seattle actress Sarah Rudinoff has scores of admirers and rightfully so, for her superb singing voice and excellent sense of comedy timing. In the lead role, the actress naturally shines in the comedic bits, but Ms. Rudinoff also nails the pain and anger of a woman dealing with the crippling loss of a sister. It’s a big, bold, gutsy performance but also one with great nuance and depth and believability.”
— Michael Strangeways, The Seattle Gay Scene
(Reviewing “Torso” at Theatre Off Jackson)
“Mostly what shone in ‘The Clay Duke’ was the divine Sarah Rudinoff. Even in drag as a Florida school board president, Rudinoff mesmerized every time she took center stage. She rattled out her words like bullets from a rapid fire semi-automatic gun, skittered across the floor pantless in a fox mask, supplicant paws bent in front of her white button-down shirt. These moments, and more from Rudinoff, were like beautiful, unstrung beads on a jeweler’s work bench.”
— Marcie Sillman, KUOW, NPR
(Reviewing “The Clay Duke” at On the Boards)
“Hatcher's sketchiest monologue is fortuitously entrusted to one of Seattle's most dependable comic actresses, that deep voiced delight Sarah Rudinoff, who, as Minka Lupino has us rooting for her from start to finish.”
- David Edward-Hughes, Talking Broadway
“Words cannot express my delight, or the audiences, for Sarah Rudinoff’s brilliant turn as the busty firecracker Hildy Esterhazy. Miss Rudinoff steals the stage, the theater and a large section of downtown Seattle with her performance.”
- Michael Strangeways, The Seattle Gay Scene
(Reviewing “On the Town” at the 5th Avenue Theatre)
“Sarah Rudinoff as Donna's feminist friend Rosie could not be more perfectly suited and hilarious. And her performance of "Take a Chance on Me" brought down the house. I've seen several renditions of this one and finally I've seen one where it doesn't look like Rosie is trying to trap Bill while Bill is trying to flee for his life from the terrifying monster. THANK YOU!”
— Jay Irwin, Broadway World
(Reviewing “Mamma Mia” at the 5th Avenue Theatre)
“The Last State ignites its own propulsion. Rudinoff’s language is at turns compactly elegant (the image of mud-caked children) and twistingly insightful (a character who owns a resort defending her exploitation of faux-authenticity). The Last State is enormously thoughtful and bold…the kind of work-in-progress you feel privileged to witness.”
- Annie Wagner, The Stranger
(Reviewing “The Last State” at On the Boards
“Sarah Rudinoff is so talented it’s goddamn ridiculous. What others do horribly wrong, Sarah does sublimely right. Where lesser actors cover lack of ability with theatrical gimmicks and emotionally manipulative tricks, Sarah blazes with fierce, funny honesty and grace. She’s a pageant of moxie, a carnival of fabulous, and her one-person show is just about the best one-person show I’ve seen this side of ever.”
— Adrian Ryan, The Stranger
(Reviewing “Go There” at Re-Bar)
“Garrison's amazing talent combined with the heartbreaking crooning of Sarah Rudinoff as Hedwig's "husband" Yitzak sent chills down my spine. I gave Hedwig the most honest and enthusiastic standing ovation since--well, ever.”
- Adrian Ryan, The Stranger
“Sarah Rudinoff walks away with this show. She's perfectly cast as Ruth and Betty Comden and Adolph Green's witty lyrics are a fine vehicle for Rudinoff's comic genius. She flavors her delivery with a dash of self-mockery, holding back until the magic moment when she pulls out the stops and takes us along for a gleeful ride. She can hardly raise an eyebrow without sending the audience into peals of laughter.”
— Kelly Huffman, Seattle P-I
(Reviewing “Wonderful Town” at The 5th Avenue Theatre)
“Her language, the sharpness and speed of her thought, her comedic timing,the strength of her one-liners, and her absurd pantomiming are all the evidence you need that Rudinoff’s brilliance should be tweeted and retweeted unto eternity.“
— Rich Smith, The Stranger
(Reviewing “NowNowNow” at On the Boards)
“Entertainment requires showmanship, and showmanship is Rudinoff’s biggest asset she simply can’t open her mouth without spewing razzle-dazzle all over the stage. A showcase for Rudinoff’s fearsome talent, Go There justifies the commanding tone in its title. So, really, just go.”
— Chris Jensen, The Seattle Weekly
(Reviewing “Go There” at Re-Bar)