"Loads of fun... well-rounded, memorable"

The trio that follows is loads of fun, as the increasingly fraught Marquise attempts to teach the girl to sing properly, despite Sulpice’s not-so-subtle melodic interjections of the 21st Regiment’s fight song, “Rataplan.” Mezzo-soprano Cindy Sadler and bass-baritone Stefano de Peppo know their way around occasionally oversize characters, creating well-rounded, memorable ones whether singing or speaking. Sadler’s vapors-prone Marquise evolves into a redoubtable matriarch, and de Peppo’s Sulpice shifts with ease between a leader of men and the tender father to the orphan Marie.
Robi Polgar

"Exquisitely acted... a joy throughout"

Odyssey makes Sir John seem less like an opera than like an exquisitely acted play that happens to be sung... There are fine performances from Cindy Sadler as Mistress Quickly, Sumner Thompson as Dr. Caius, Robert Honeysucker as the Host of the Garter Inn, and the rest of the 23-member named cast, and the chorus, all boundless energy, is a joy throughout. Falstaff gets the last word, or rather, look, and it’s a look of love.
Jeffrey Gantz

"Masterful... husky speaking voice... thick and convincing Russian accent... commanding and authoritative"

The third female role — actually a male role sung by a mezzo soprano (or pants role, as it’s often called) — is the filthy rich (though eternally bored) Russian aristocrat, Prince Orlofsky, played here in masterful fashion by Cindy Sadler. Sadler’s husky speaking voice, which could easily pass off as that of a man, was couched in a thick and convincing Russian accent strong enough to land the actor a spot in the cast of the James Bond thriller, From Russia With Love. Sadler’s character was commanding and authoritative, drawing the eyes of all guests at the opulent ball in the tuneful drinking song Chacun à son goût, where the prince invites his guests to indulge their every pleasure. Sadler’s best singing of the evening came with the magnificent Champagne Chorus, a toast she delivered with great energy and drive. With the exception of an occasional tendency to allow her vibrato to cloud an otherwise handsome singing voice, Sadler delivered a most enjoyable musical and comedic effort.
David Abrams

"Deftly handling the vocal challenges and also enjoying the comedy"

The excellent cast was the strongest component of this production, and I haven’t a single complaint about any of the singing... CINDY SADLER was an impressive Orlofsky, deftly handling the vocal challenges and also enjoying the comedy. Usually Orlofsky is sung by a lyric mezzo, but Ms. Sadler lists quite a few dramatic mezzo roles in her bio, so she deserves kudos for negotiating the high tessitura of the role. I hope to see and hear more of her.

"Effervescent... balance between over dramatization and playing it straight"

The performance was effervescent, with the cast spinning magic as they sang Strauss’s intricate vocal lines ...mezzo-soprano Cindy Sadler finds comfortable ground for her portrayal of Orlofsky, a trouser role that calls for balance between over dramatization and playing it straight.
Linda Loomis

"One-woman show... acted the part well"

Sadler and Mungo both acted effectively to convey the sadness and emptiness stemming from the difficulties of sustaining a relationship in a materialistic world. Sadler’s big moments came in her garden-dream song and when her character recalls the ‘awful’ movie ‘Trouble in Tahiti’ in the ‘What a movie!’ scene. Mungo was best in his prideful ‘There’s a law’ solo arias. Their ensemble singing was outstanding, too... Sadler was a one-woman show to open the double-bill presentation with The Italian Lesson... As in Tahiti, Sadler acted the part well, portraying a woman enjoying life as best she can by valuing mundane tasks and finding strength in daily ritual.
David Hendricks