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Christine spent much of 2006 and 2007 touring the country (25 cities in all) in "The Light in the Piazza". She portrayed Margaret Johnson, a mother fighting her own fears and feelings while trying to protect her "special" daughter in romantic Florence,
Italy....the land of naked marble
boys!
Along the way, Christine garnered wonderful notices, including a nomination for a Helen Hayes Award in Washington D.C.
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"The most aching theme belongs to Margaret
(Christine Andreas who narrates the musical
and is its moral compass. Her music is
autumnal and melancholy, particularly in the
fragile world-weariness of "Dividing
Day."
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"Miss
Andreas is a commanding Margaret, crisp and
ladylike in public but falling apart in the
privacy of her hotel room. It is delicious
to see her bend and soften under Italy's
spell, her body language and exquisite voice
becoming warmer and expansive."
- The Washington Times
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"Nowhere is there a more heartbreaking pair of messengers than
Christine Andreas and Elena Shaddow playing a mother
and daughter, each with much to learn while
vacationing in 1953
Florence
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"Andreas handles the role of Margaret with
passion and dignity. She has the kind of textured
voice that is usually found in top cabaret spots and
not on Broadway stages, and it's ideal."
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Los Angeles
Daily News
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Christine (as Margaret
Johnson) with Elena Shadow (as her daughter Clara) |
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"As Margaret, Christine
Andreas gives a deeply felt performance,
full of love and anguish and the determination of a
lioness.
"In
her climactic finale song, "Fable,"
Andreas reveals conflicting emotions that underscore
the bittersweet nature of the entire show. It's a
tremendously touching moment in which Andreas
succeeds in baring Margaret's aching soul. Andreas'
performance is slightly sharp-edged and raw and all
the more penetrating for it."
- Broadway World,
Boston
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Christine (as Margaret
Johnson) with David Ledingham (as Signor Naccarelli) |
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"I’ve
seen this show four times with three mostly
different casts. This, overall, is the best. Andreas
attacks Margaret with steely resolve in place of
Victoria Clark’s wry ruefulness. That initially
seems strange — until Andreas knocks you dead with
a precisely structured yet heart-wrenching rendition
of “Dividing Day” and only soars upwards from
there.”
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The Chicago Tribune
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