PRESS

REVIEWS

A CHRISTMAS CAROL, NOTTINGHAM PLAYHOUSE / ALEXANDRA PALACE THEATRE
The always wonderful Rebecca Trehearn adds gumption and motherly warmth to Mrs Fezziwig and Mrs Cratchit. (Broadway World)

There are lovely performances from Rebecca Trehearn as Mrs Cratchit... (Telegraph)

Edward Harrison and Rebecca Trehearn are brilliant as Mr and Mrs Cratchit, evoking such heartbreak in parallel to their cheery nature, determined to “keep Christmas well”. (Lost In Theatreland)

So much to appreciate, from the strong characterisations and superb diction of Peter Forbes, Bettrys Jones and Rebecca Trehearn... (Theatre Online)

CINDERELLA, GILLIAN LYNNE THEATRE
A showstopping duet, “I Know You,” for the Queen and the Stepmother, has a more Gallic tinge. Those supporting roles are played to comic perfection by Rebecca Trehearn and Victoria Hamilton-Barritt... Trehearn, for her part, raises haughtiness to a high art: “I can’t lose my head,” she announces. “Where would all my hats go?” (New York Times)

As she proved singing Zippel’s lyrics in City of Angels at the Donmar, you can always count on Rebecca Trehearn and she plays the Queen with lascivious glee; her knowing duet with Cinderella’s stepmother is delivered as if straight from a Pigalle cafe. (Guardian)

It’s the villains who have the most fun here – and, refreshingly, the show is ruled by older women. Victoria Hamilton-Barritt is a commanding Cruella of a Stepmother and Rebecca Trehearn’s Queen a regal diva. When they exchange teeth-gritted threats over tea in the delicious duet "I Know You", it’s like Dynasty meets The Crown. (Telegraph)

It’s the morally bankrupt matriarchs who get the best material – The Stepmother and Queen’s duet “I Know You” and the latter’s impossibly catchy, testosterone-fueled “Man’s Man” are by far the show’s strongest numbers. (Independent)

There’s a sly Parisian wink in the accordion-backed I Know You, where Rebecca Trehearn’s dizzy but dangerous queen and Victoria Hamilton-Barritt... recognise each other as social climbers. Theirs is a great comic double-act. (Evening Standard)

Prince Charming... has gone Awol, leaving his younger, more introverted brother to try to fill his shoes while trying to please a Queen who thinks only of pleasure and partying. Rebecca Trehearn has endless fun in the role. (The Times)

A duet between Rebecca Trehearn's queen and Victoria Hamilton-Barritt's wicked stepmother is all bee-stung lips and suppressed loathing. Who knew entwined snakes could have such talons? (Sunday Times)

Their hilariously Marie Antoinette-ish Queen – a truly magnificent Rebecca Trehearn, shamelessly vamping her way through the best turn of the show... (Time Out)

Much of the fun – and there’s plenty – is generated by The Stepmother and The Queen, bravura turns from Victoria Hamilton-Barritt and Rebecca Trehearn... Trehearn has more than a touch of Miranda Richardson’s unforgettable Queenie from Blackadder II, the smug smile hovering on the decision as to whether she’d prefer to listen to herself a little more or listen to you a little less, so pleased is she with the power of her throne. This gruesome twosome get all the best lines and land every one. (Arts Desk)

Fabulously catty – especially in the feuds between the show’s two glorious divas: the Queen of Belleville (a gleefully giddy Rebecca Trehearn) and Cinderella’s stepmother... The real fun is (as usual) to be had with the baddies. (Daily Mail)

The waspish Queen – played by Rebecca Trehearn, whose deliciously withering grandeur would give Marie Antoinette pause... (Variety)

The even more fabulous double-act between Rebecca Trehearn's Queen and Victoria Hamilton-Barritt's Stepmother often steals the show. Both rock a series of ever more sensational camp couture gowns and hats as they trade barbed power plays. (The Express)

In a fine, music-fuelled episode, Victoria Hamilton-Barritt’s serpent-like Stepmother and Rebecca Trehearn’s flouncing but forceful Queen try to outfrock each other (fishtail versus farthingale), singing to a clever, Gallic-infused melody, mock-nostalgic and, well, tart. (Observer)

There are some lovely scenes with Rebecca Trehearn's Marie-Antoinette-like Queen, one of which features the sharply satirical duet "I Know You", a masterclass in passive aggression. (Broadway World)

There’s a doting and delirious queen (Rebecca Trehearn, channelling Marie Antoinette), and the duet “I Know You” is a masterclass in musical comedy. (London Theatre Guide)

My favourite, sung in quite the sharpest and best scene, is "I Know You", a little French-tinged number, in which Cinderella's social climbing stepmother attempts to blackmail the Queen (Rebecca Trehearn) with her knowledge of her past. Both women are absolutely terrific... Trehearn too proves her comic talent. (Whatsonstage)

There are more unequivocal triumphs for Victoria Hamilton-Barritt as Cinderella’s grasping stepmother and Rebecca Trehearn as the Queen, who both steal the comedy honours and Trehearn — one of the very finest voices in musical theatre — also competes with Fletcher for the musical ones. (Shenton Stage)

A CHRISTMAS CAROL, THE OLD VIC
The cast are the beating heart of the story, and all bring such brightness to the show... Rebecca Trehearn as the lovely no-nonsense Belle... Trehearn belts out the first verse of ‘See, amid the Winter’s snow’ in such a stirring way. (A Younger Theatre)

Expect tears among the laughs, not least during Scrooge’s encounters with his lost love Belle (an excellent Rebecca Trehearn). (The man in the grand circle)

An angelic voice sings out See Amid The Winter's Snow from high up in the gods. It's the most heart-bursting affirmative moment in a production that's hardly lacking in theatrical show stoppers. (Telegraph)

Rebecca Trehearn was striking as Scrooge’s spurned lover Belle, truly sassy upon first meeting the young would-be-apprentice, and sweetly caring when the two meet years after their parting.
(Official Theatre)

Paterson Joseph is joined by a fine company of supporting actors, including Rebecca Trehearn... [they] bring dramatic depth as well as their fine voices to the mostly ensemble singing. (There is, however, a moment of shivery magic when Trehearn's glorious voice can be heard coming solo from the upper circle).
(LondonTheatre.co.uk)

Amidst an excellent cast, on my good list this year are Melissa Allan, Gloria Onitiri, Myra McFadyen, Fred Haig and Rebecca Trehearn for their performances. (Broadway World)

Other standout performances come from the ever-impressive Rebecca Trehearn as Scrooge’s one-time love interest, Belle. (The Family Stage)

KISS ME, KATE, WATERMILL THEATRE
Rebecca Trehearn’s Lilli and David Ricardo-Pearce’s Fred are tender and cheeky... Trehearn is a study in steely serenity as she storms through rehearsals with a stony expression on her face. Yet when she sings, what a transformation! Her vocal control is exquisite – you never doubt she’ll hit each note perfectly – yet she also demonstrates freedom. Her version of So in Love hums with a feeling of release: here is a person finally allowing herself to be known. (Guardian)

This is a winning Kiss Me, Kate, catching fire, as it should, in the chemistry between the leads. Rebecca Trehearn is an unimprovable Kate, intelligent and sad. (Sunday Times)

David Ricardo-Pearce and Rebecca Trehearn are a formidable match as the divorced couple whose battles overflow into a production of The Taming of the Shrew. He is all bluster and bruised ego; she is fire and ice. And in the infamous spanking scene, Trehearn gives as good as she gets. There was a cheer from someone in my row as she landed another slap. (The Times)

That authority is deliciously undermined from the get go by Rebecca Trehearn's superbly abrasive, razor-sharp Lilli. She plays the wronged ex-wife to the hilt, especially when she discovers he is still playing the field despite his ardent overtures to reignite their relationship. She relishes playing Fred off against her new millionaire suitor from Washington's elite, at first cleverly squeezing all the fun out of a phone call where we only get to hear her side. Trehearn is moving too as she conveys equal parts of exasperation with and yearning for the errant Fred. (WhatsOnStage)

Rebecca Trehearn’s fiery-tempered Lilli fiercely refuses to be subjugated by the men, even during the show’s closing number. Trehearn shares some great chemistry with David Ricardo-Pearce’s scene-stealing leading man Fred. (The Stage)

Rebecca Trehearn smoulders and scolds with equal facility, rocks a Dior-ish peplum jacket and skirt combo with studied hauteur - and she sings like the Olivier Award winner that she is. (Broadway World)

At the production's centre is a palpable chemistry between David Ricardo-Pearce's Fred and Rebecca Trehearn's Lilli. Individually, the two performers are exemplary - but when they are together, Kiss Me Kate crackles with electricity. (Daily Info)

I Hate Men was delivered with such venom and spite, no doubt many of the women in the audience had to suppress an urge to punch their fists in the air and declare themselves celibate in solidarity. I Am Ashamed That Women Are So Simple was turned on its head, cleverly choreographed to show women as powerful and clever, thanks also to the superb talents of Trehearn. (Andover Advertiser)

Leading the cast of superb actor-musicians are Rebecca Trehearn as Lilli, ex-wife of Fred (David Ricardo-Pearce). This outstanding pair make the atmosphere on the stage sizzle with action as Fred attempts, in the on-stage Shrew, to woo his reluctant bride and, in the off-stage story, to re-start their love story. (Newbury Today)

RAGS, HOPE MILL THEATRE
The simplest moments are the most affecting. In Children of the Wind, a poignant solo about loss and hope, Trehearn’s voice is sublime. (The Stage)

Rebecca Trehearn deserves special credit for her main role – what comes across best in the production is her intense love and affection for her younger son. (WhatsOnStage)

Rebecca Trehearn is an excellent heroine; carrying the weight of the world on her shoulders but very much aware of her own worth and determined not to let past horrors overwhelm her future. (The Reviews Hub)

Trehearn excels as the piece’s calm, determined centre, and touchingly plays her scenes with son David. (Musical Theatre Review)

Olivier Award-winner Rebecca Trehearn takes on the role of her namesake, and is simply stunning as a mother who will stop at nothing to provide for her son, regardless of the seemingly constant barrage of obstacles in her way. (BenHewis.com)

Rebecca Trehearn is pure star quality; she captures the gut-wrenching anguish of Rebecca with perfection and her determination to succeed in this hostile new world is profoundly moving. Her vocals are pitch perfect throughout while her stunning rendition of Children Of The Wind would melt the coldest of hearts, to see it delivered in such an intimate setting as Hope Mill is breath-taking. (Opening Night)

Rebecca Trehearn takes on the role of Rebecca and her performance alone is one of the finest I’ve ever seen at the Hope Mill Theatre. She brings a real sincerity to the role and you find yourself really connecting with her. Her natural ability to tap into the pain and conflict she feels is extraordinary. It’s no secret that Trehearn’s vocals are astonishing, but getting to witness that in such an intimate space is a real privilege. Her performance of Children Of The Wind sends shivers down your spine, it’s hopeful, moving and triumphant. (Sincerely Amy)

Olivier award winner Rebecca Trehearn is quite stunning, giving a beautifully nuanced performance with characterisation that combines heart-breaking vulnerability with fiery passion and courage. Her amazing voice and impressive range convey emotional complexity with profound insight and clarity. (Stagey Lady)

Rebecca Trehearn [gives] an absolutely luminous performance as Rebecca... She’s a glorious singer and an honest actor, and her rendition of Rebecca’s big anthem ‘Children of the Wind’ at the climax of the second act is very moving indeed. (One Apostrophe)

Rebecca Trehearn deserves a mention for her spectacular performance as the lead role Rebecca. Trehearn’s portrayal of a woman desperate to guarantee a good life for her child was heartbreaking, and yet at times uplifting. (The Mancunion)

Trehearn gives a strong central performance as Rebecca with her beautiful rendition of 'Children of the Wind' a standout moment. (North West End)

Rebecca Trehearn gave an outstanding performance that was incredibly gritty and real. Her powerful vocals showed deep emotion and nearly had me in tears. (Unofficial Theatre)

I don't know what to say about Trehearn... she left me speechless as she is simply phenomenal. Trehearn's voice is unbelievable and her acting is sensational... An unforgettable performance. (Theatre Teen Reviews)

Rebecca Trehearn played Rebecca with real conviction and her singing was pitch perfect. (The Jewish Telegraph)

Rebecca Trehearn has an exceptional voice that shines in her solo songs, ‘Edge of a Knife’ and ‘If We Never Meet Again’ which gave me goosebumps. (The Play's The Thing)

SWEET CHARITY, NOTTINGHAM PLAYHOUSE
Rebecca Trehearn, who won an Olivier recently for her role in Show Boat, proves herself a star-in-waiting. An effortlessly strong singer, she aces on the loving optimism that is the making and the breaking of Charity. There’s plenty of scope to make Charity too bulletproof to care about or too daffy to believe in, but Trehearn gives us enough glints of glossed-over pain to make her come alive. (The Times)

This production is worth seeing for Rebecca Trehearn’s performance alone... Everything hinges on our response to Charity herself. If played too sentimentally, the show doesn’t work. Trehearn is spot-on in demonstrating that Charity, however unlucky in love, is the eternal cockeyed optimist. Above all, Trehearn is funny. When Charity finds herself in the apartment of an Italian screen idol, she sings If My Friends Could See Me Now with the right amount of goofy astonishment, while cavorting in an outsize top hat. In I’m a Brass Band, where Charity believes herself to be on the brink of marriage, Trehearn enthusiastically mimes every instrument in the orchestra. And – the test of Trehearn’s performance– she succeeds in making you feel that the real losers are the men who reject her. (Guardian)

Charity – especially in the remarkable performance of Rebecca Trehearn – is a delightful tour guide around New York... The bulk of the work falls on Trehearn, who doesn’t stop for the whole thing. Her wry acceptance of everything that happens to her is affecting, and each of her songs is full of character. The over-the-top exuberance of ‘If My Friends Could See Me Now’ contrasts with the bittersweet acceptance of the reprise as she sits alone in a closet; ‘You Should See Yourself’ is packed with desperation as she attempts to get Charlie’s attention; and her dancing is full of subtle beauty, particularly as she tries to settle into film star Vittorio Vidal’s bed. (Exeunt)

At the heart of it all is Rebecca Trehearn’s Charity. She gives a winning performance with a clear, strong voice and a smile that rarely falters, even when she’s conveying how overwhelming it can feel to be caught in the headlamps of male attention, and how devastating it can be when that light dims. She contentedly chomps on a sandwich while hiding in the closet of Vidal’s apartment, and cracks only briefly when cast aside by neurotic Oscar, the man she hoped would whisk her off to the suburbs... Trehearn’s mixture of resilience, vulnerability and amiability coupled with the sheer skill of the cast carries the production. (The Stage)

Rebecca Trehearn makes the hapless Charity entirely her own: she is kooky, charming and relatable, battling against the odds of a lousy job, some crummy boyfriends and an overly-generous personality. She dreams of more from life but has neither the education nor the opportunity to do much about it. Despite this, Charity’s sense of humour, passion for life and gritty demeanour means she dusts herself down after every adversity and begins all over again. Rebecca Trehearn as Charity is a total knock-out. Hers is a bold, uninhibited, and a bravura performance.
(East Midlands Theatre)

Trehearn is winning in the role, bursting into girlish joy in "If My Friends Could See Me Now", but never losing sight of the melancholy beneath. (WhatsOnStage)

Rebecca Trehearn... gives an enthralling performance. Hardly off the stage during the two-and-a-half hours of the show, she sparkles throughout, her energy, enthusiasm and élan being absolutely compelling. (British Theatre Guide)

This musical always stands or falls on the quality of the performer playing Charity and, in Rebecca Trehearn, you will see someone in total control onstage, with acting, singing and dancing of the highest quality, plus bags of charm. (Eastwood Advertiser)

Rebecca Trehearn (in the starring role she’s long-deserved) radiates charisma, charm and talent in a triple threat performance that emphasises Charity’s eternal optimism to the point of fragility. Her rendition of ‘If My Friends Could See Me Now’ is giddily uplifting, while the goofiness she affords Charity makes an already endearing character all the more loveable. (Not Exactly Billington)

Trehearn brings an exhilarating confidence to Charity, inhabiting the role with song and dance that is perfectly performed. At her finest with the big solos of If My Friends Could See Me Now and a Dolly Levi-esque I’m A Brass Band, she is a whirl of relentless energy and talent. (Jonathan Baz)

In casting Rebecca Trehearn as its star, it could scarce have chosen better. Trehearn sounds like a dream throughout, of course she does, but what this role does is to really let her flex her acting chops and reveal how good a comedienne she is. Goofy without being gormless, sweet without ever letting us forget how smart, and sensitive too – it’s impossible not to be entirely affected by her every time her heart gets bruised.
(There Ought To Be Clowns)

There are actresses who can sing and there are actresses who can dance; Rebecca Trehearn is an actress who can act, sing, and dance all at the same time! Hers is a supreme performance. Her character, Sweet Charity, has all the impudence of Sally Bowles and all the pathetic warmth of Miss Adelaide; Trehearn’s own contribution is as feisty as a Barbra Streisand and as fragrant as a Julie Andrews. (Theatreworld)

Tremendously led by Olivier award-winning actress Rebecca Trehearn as Charity, going gooey over unsuitable men... You can’t help but be enchanted by her determination to find love in a cruel world. (Nottingham Live)

Charity may be claimed (by some) to be ‘gullible and guileless’, but Rebecca Trehearn – pure joy from start to finish – struck me as the brightest cookie of them all. Her sparkling charisma sets the tone for the whole thing. (Musical Theatre Review)

SONDHEIM ON SONDHEIM, ROYAL FESTIVAL HALL
The cast is fantastic, from Rebecca Trehearn’s seemingly effortless clarity... The material is exquisite, and expertly performed. (The Stage)

Best of all, for my money, is Rebecca Trehearn’s masterful take on the (very) difficult I Read from Passion. It’s far from the easiest song/aria/whatever to make work as a concert piece, but she succeeds triumphantly; it’s one of those performances that raises goosebumps, and someone – soon, please – has to cast her as Fosca in a full production... Did I mention that Rebecca Trehearn’s I Read was worth the ticket price, the train fare, and the hotel bill? One more time: someone please cast her as Fosca. Stat. (One Apostrophe)

Each singer had their moment... Claire Moore, Julian Ovenden and Rebecca Trehearn were all on winning form. (The Times)

Rebecca Trehearn stands out with I Read from Passion. (BritishTheatre.com)

Rebecca Trehearn, who won an Olivier Award for her performance in Show Boat, showed off some dazzling vocals. (Broadway World)

DIARY OF A TEENAGE GIRL, SOUTHWARK PLAYHOUSE
The recently Olivier-nominated Rebecca Trehearn gives a scorchingly powerful turn as Minnie's distant, dysfunctional mother, confronted with the unspeakable and confusing horror of discovering her lover has been abusing her daughter. (Jonathan Baz)

Her mom is played by the equally youthful Rebecca Trehearn (who does marvelous things with the script, but struggles to convince us that she is over 30!). (BritishTheatre.com)

Rebecca Trehearn looks every bit the 70s mother, Charlotte, and achieves an interesting dynamic with Morison, at once the loving adult carer as well as a strange competitor of her daughter, who is fast becoming a threat as a young woman. (The Upcoming)

[Minnie's] mother, a bohemian, liberated librarian played with authentic 1970s style by Rebecca Trehearn. (Everything Theatre)

Of the supporting cast, Rebecca Trehearn and Jamie Wilkes shine as Minnie's mother (Charlotte) and Monroe respectively. They both have a great sense of comedy, but are also adept at switching to a more serious mode - especially when the story starts becoming darker. (Broadway World)

Rebecca Trehearn at first appears a little young to be the inept matriarch, but as the story continues we discover it is her own teenage misadventures, which have led to the disastrous set of conclusions. (London News Online)

FLOYD COLLINS, WILTON'S MUSIC HALL
I don't see how the central triumvirate of Floyd and his siblings could be better performed than it is here by Ashley Robinson with Rebecca Trehearn and Samuel Thomas. Trehearn excels as his devoted and disconcertingly unself-monitoring sister who seems to have a history of mental trouble but puts the “sane” to shame with her honesty and directness. Her rendition of “Through The Mountains” – “As we follow 'long the diamonds to the outside” – is achingly beautiful. (Independent)

Rebecca Trehearn, one of our finest musical theatre performers, captures the innocence of Nellie Collins in a calm and uniquely understated way, becoming the most interesting character trapped above ground. Never hysterical and distinctly reserved she offers some of the score's most captivating musical moments with her crystal clear soprano and impressive authentic vocal ornamentations that breathe further delight to Guettel's work. (London Theatre Guide)

Moments of beauty... are provided by the effortlessly gorgeous vocals of Trehearn. Her performance as the perennially positive, but also very complex, sister recently returned from an asylum often makes her the most intriguing character on stage. Her solo songs stand out as singularly special sections of the musical. Hearing her is well-worth breaking a sweat for. (Exeunt Magazine)

The standout performance comes from Rebecca Trehearn who, as Floyd’s sister, is both a model of sibling devotion and delivers a climactic dream song with bright-eyed fervour. (Guardian)

Rebecca Trehearn, as Nellie, her voice piercingly clear, is exceptionally good. (The Times)

Stand out is the always excellent Rebecca Trehearn, whose voice brings something almost spiritual to Floyd’s eccentric sister Nellie. (Time Out)

Packed with lovely performances... Rebecca Trehearn, superb as [Floyd's] fragile sister. (Financial Times)

The genius of Floyd Collins lies with its intimacy, with those quiet moments where Floyd (the excellent Ashley Robinson), his brother Homer (Samuel Thomas), and sister Nellie (wonderful Rebecca Trehearn) reflect in isolation or in concert. One of the joys of Jonathan Butterell’s terrific revival... is the way in which his pitch-perfect cast inhabit the style of the score. Trehearn perfectly catches the telling vocal aches and breaks and sobs of her numbers. (The Arts Desk)

There’s generous support from Samuel Thomas and Rebecca Trehearn as Floyd's devoted siblings, with the latter giving a swooningly gorgeous interpretation of the lovely melody Through the Mountains. (The Stage)

The night belongs to Rebecca Trehearn though, with her gorgeously nuanced performance as Floyd's psychologically damaged sister Nellie. Gifted with some of the more beautiful musical moments and possessed of a radiant soprano that is always a joy to hear, she makes this Floyd Collins even more of a must-see. (There Ought To Be Clowns)

If there was any justice – and in showbusiness there often isn’t – Rebecca Trehearn would be well on the way to becoming a huge, huge star. She’s the real deal, and this is the second time this year I’ve seen her give a brilliant performance in a difficult role. As Floyd’s sister Nellie, who we’re told has recently been discharged from an asylum, Trehearn is simply mesmerising. She has tremendous presence, she finds precisely the right balance between adult strength and childlike simplicity, and she sings her (difficult) music beautifully. (One Apostrophe)

This score is brought to life by a very talented cast, with the lilting soprano of Rebecca Trehearn as Floyd’s sister Nellie being a particular highlight. (Everything Theatre)

Rebecca Trehearn delivers a performance seething with intensity as Floyd’s sister, Nellie, absolutely aware and in control of the ever-changing landscape of the character’s hopes and fears. Her voice is, as ever, something entirely unique and beautiful. (Musical Theatre Review)

Rebecca Trehearn brings her soaring soprano to the role of Nellie, his slow but loyal sister. (BroadwayWorld.com)

The most searing moments are when words are more or less abandoned altogether... especially when the tone is floated as ethereally as it is by Rebecca Trehearn. Trehearn is superb throughout as the mentally ill sister devoted to Floyd, always slightly at one remove from events. (Live Theatre UK)

SHOWBOAT, NEW LONDON THEATRE
Rebecca Trehearn’s Julie, a radiant, raven-haired beauty... forced out of town for the crime of miscegenation. Later, down and almost out as a nightclub singer in Chicago, Trehearn’s drunken rendition of Bill raises the rafters. (Daily Mail)

My companion wept through 'Bill', rendered with heartbreaking power by Trehearn. (London Theatre Guide)

Her bi-racial past the initial engine of the narrative sprawl, Julie gets two of the show's best numbers, including the celebrated torch song, "Bill", here reimagined by the amazing Rebecca Trehearn as the tragic last hurrah of a character. (The Arts Desk)

Bill – a song of devotion to an ordinary Joe which I can’t imagine being given a more heart-rending interpretation than Trehearn delivers here. (Telegraph)

Rebecca Trehearn breaks your heart as Julie, performing the glorious "Bill" as a woman in despair who still can't quite resist a song taking flight. (WhatsOnStage)

A wrenching farewell from father to child is followed by an angry, sozzled, unforgettable rendering of “Bill” from Rebecca Trehearn’s Julie. (Libby Purves)

Trehearn brings real poignancy to Julie, Cotton Blossom’s mixed-race leading lady, who becomes a damaged, alcoholic chanteuse. (Financial Times)

Rebecca Trehearn's Julie offers a performance that is perfectly nuanced throughout. Her character hides a complex secret... The tiny details that betray Julie’s deepest fears are performed exquisitely. Can't Help Loving That Man Of Mine evolves throughout the evening until it's the song on everyone's lips at the final curtain, whilst Bill, a beautiful lament is one of the second half's highlights. (Jonathan Baz)

Rebecca Trehearn gives a star turn as the devoted Julie; the tantalising glimpse of her, bitter, sozzled and almost unrecognisable in the second act makes one almost wish that this had been her story. (London Theatre 1)

Rebecca Trehearn plays a luscious Julie La Verne, whose rendition of ‘Bill’ is delivered through a haze of alcoholic bitterness combined with a diva’s longing for one last success. (Exeunt)

Rebecca Trehearn is remarkably moving and enchantingly warm as the doomed Julie La Verne. Her voice is quite extraordinary, agile and full bodied. You can just about taste the whiskey in her phrasing and delivery of Bill and her Can’t Help Lovin’ Dat Man is laced with heartache and passion. (Live Theatre UK)

Rebecca Trehearn’s beautiful ballad “Bill”, she delivers with a voice so velvety that you half wish she was singing the entire score. Her role as the troubled Julie La Verne is definitely a show stealer. (OfficialTheatre)

Worth the price of entry alone is Rebecca Trehearn (as Julie) with her poignant lament, Bill. (The Lady)

Rebecca Trehearn’s Julie beautifully delivers both the hauntingly catchy Can’t Help Lovin’ Dat Man and, solo, the emotive Bill. (TNT magazine)

Trehearn musters up vocal magic in the second act with her rendition of the hauntingly beautiful 'Bill'. She is captivating throughout, Trehearn is a star at the top of her game. (West End Frame)

Dark-haired, deep-voiced Rebecca Trehearn, as Julie, provides a musical and visual contrast to Beck, especially when both their characters are challenged by circumstances. Trehearn’s well-judged rendering of ‘Bill’ in Act II is brittle and soulful – every inch a woman on the brink. (Musical Theatre Review)

Passions often run high and fortunes rise and fall in the blink of an eye for the central characters... personified in the troubles faced by Rebecca Trehearn as Julie, who sings like a dream, particularly on her late return with “Bill”. (British Theatre Guide)

Thrilling Rebecca Trehearn gives a heartbreaking rendering of Bill. (The Stage)

SHOWBOAT, SHEFFIELD CRUCIBLE
Rebecca Trehearn is exquisite as Julie LaVerne, the Cotton Blossom's mixed-race leading lady; her rendition of Can't Help Lovin' Dat Man is rapturous, her pain piercing when, years later, she turns boozy Chicago nightclub chanteuse. (Times)

Rebecca Trehearn’s Julie, forced to end her career on the Cotton Blossom when it’s revealed that she is half negro and thus guilty of inter-racial marriage, lends a gorgeously deep, oaky quality to the musical’s second big musical moment, Can’t Help Lovin’ Dat Man. (Telegraph)

Rebecca Trehearn's ardent, fiery and then desolate Julie is a complete triumph. She handles every aspect of the role with skill, grade and style. Her voice is luxurious, gorgeous in tone, like a mink coat that shimmers, warms and envelops you. She makes your heart leap in Can't Help Lovin' Dat Man and then destroys it in her no holds barred Bill, when the desperation of her life colours her sound but does not extinguish it. A career-defining performance; flawless and brave. Magnificent. (Live Theatre UK)

Rebecca Trehearn is magnificent as the alcoholic Julie, mourning her loss in Bill. (Sunday Times)

The alluring Rebecca Trehearn as Julie has two of the best songs in the show (‘Can’t Help Lovin’ Dat Man’ and ‘Bill’) in a musical packed with them. Her voice could melt the rivets out of a paddle wheel. Julie’s tragedy is the point on the knife of the theme of racism and we feel its sharpness more acutely when we empathise with the artist playing the role. (Musical Theatre Review)

Equal as are all in the 24-strong ensemble, space constraints mean I can single out but a few.... Rebecca Trehearn as Julie, simultaneously broken and sustained by love. (Guardian)

There's thrilling vocal work from Rebecca Trehearn's Julie on Bill. (The Stage)

Trehearn, who stunned last year in City of Angels does it again here, with an amazing spin on Can't Help Lovin' Dat Man. She both thrills and fills the Crucible with the song, breaking our hearts in the second half as she stumbles across Magnolia reprising the number. (Jonathan Baz)

An equally enjoyable performance from Rebecca Trehearn as Julie LaVerne, the supposedly mixed race singer whose downward trajectory complements Magnolia’s rise. I was extremely sorry when the vicissitudes of the plot removed her from view for most of the second half, though her moving interpretation of "Bill" almost compensated for that. (British Theatre Guide)

Rebecca Trehearn exudes just the right amount of tragic heartache as Julie LaVerne. (Exeunt)

There are particularly strong performances too from the female supporting characters... Rebecca Trehearn as Julie LaVerne whose life spirals downwards after being outed as mixed race. (The Star)

CITY OF ANGELS, DONMAR WAREHOUSE
Trehearn does for niceness what Louise Brooks did for the bob. (Observer)

The standout is Rebecca Trehearn (Donna/Oolie), who has the look and the sass and the comic timing of a Hollywood great. (The American)

A trusty lovelorn sidekick to the private eye in the film, Rebecca Trehearn is wonderfully wry and undeluded as the writer's lonely mistress. “You Can Always Count On Me”, her comically self-mocking lament at being one of nature's “other women” is one of the highlights of the evening. (Independent)

Rebecca Trehearn is superb as Buddy’s warm assistant and Stone’s resourceful secretary. (Evening Standard)

Rebecca Trehearn, as both Buddy’s real assistant and the fictional detective’s secretary, knocks the roof off with the sour elegant wit of "You Can Always Count On Me". (Libby Purves)

Trehearn excels on You Can Always Count On Me, an anthem for “good girls” who are virtuosos at playing second fiddle. (Times)

The songs seem to adorn the action rather than spring organically from it (a striking exception is "You Can Always Count On Me", buoyantly delivered by Rebecca Trehearn). (Guardian)

It’s an ensemble joint – [Rosalie] Craig raises the roof with the couple of numbers she has, as do Rebecca Trehearn’s big-hearted losers Donna and Oolie. (Time Out)

Rosalie Craig and Rebecca Trehearn, as Stine’s wife and mistress, show quite how much feeling you can cram into a song. (Variety)

It is the women who score even more strikingly, with performances of high glamour as well as grit and wit from Rosalie Craig, Katherine Kelly, Samantha Barks and Rebecca Trehearn. (The Stage)

There’s only one really stand-out number – “You Can Always Count on Me” sung superbly by Rebecca Trehearn in her excellent performance as Donna/Oolie, the good, kind woman who’s always overshadowed by the glamorous molls around her. (Victoria Sadler)

The women are not just heart-stoppingly glamorous, but rendered with real wit... Rebecca Trehearn as a secretary and Girl Friday who’s not quite as sweetly obliging as she seems [is] captivatingly colourful. (Arts Desk)

Rebecca Trehearn is equally compelling as both Stone’s loyal assistant and Stine’s mistress, her number ‘You Can Always Count On Me’ earning easily the biggest applause of the evening. (A Younger Theatre)

Stand-out performances do come from Rebecca Trehearn, who demanded attention as soon as she entered. (The Upcoming)

Rebecca Trehearn smoulders as secretary / other-woman in both worlds and sings sensationally, first in a striking duet with Rosalie Craig's Gabby, What You Don't Know About Women and later stealing the show with You Can Always Count On Me. (Jonathan Baz)

Rebecca Trehearn brings a real warmth to her Donna/Oolie, not to mention Trehearn’s effortless stage presence. (So So Gay)

The singing is excellent across the board, but Rebecca Trehearn (playing loser secretaries Donna/Oolie) is exceptional performing the show's standout number, "You Can Always Count On Me". (The Gizzle Review)

Rebecca Trehearn sings the show-stopping “You Can Always Count on Me” and stops the show twice. (Mature Times)

DOGFIGHT, SOUTHWARK PLAYHOUSE
Rebecca Trehearn... Is in wonderfully abrasive, drop-dead form as Marcy, the street-smart hooker. (Independent)

The piece... [achieves] liftoff late in the first act with a duet for two women that also happens to be the title song.... When Laura Jane Matthewson and Rebecca Trehearn lock voices in this grittiest of numbers, there’s a palpable surge of excitement. (New York Times)

Rebecca Trehearn plays hooker Marcy with perceptive humour and fantastic vocals. (Jonathan Baz)

The stridency and venom of the duet “Dogfight”... becomes a kind of paeon to disillusionment. It’s a fantastic moment and a fantastic number. (Edward Seckerson)

Rebecca Trehearn as Marcy gives a scene stealing performance and killer vocal. (PostScript Journal)

It’s belter Rebecca Trehearn... who provides the musical highlight with a powerful rendition of the coruscating title number. (The Arts Desk)

Rebecca Trehearn plays Marcy... she provides powerhouse vocals, you could learn a lesson or two from watching this woman perform. I was drawn to her whenever she was on stage. (Pocket Size Theatre)

Feisty prostitute Marcy... a scene-stealing, rambunctious performance by Rebecca Trehearn. (Musical Theatre Review)

Rebecca Trehearn brought an assured caustic wit to the hard-nosed prostitute Marcy, and a powerful vocal delivery of the song ‘Dogfight’. (Rage Off Stage)

Special mention must go to Rebecca Trehearn as Marcy... Her duet with Matthewson in “Dogfight” was sung with an incredible rawness and spite that made the number absolutely exhilarating. (Grumpy Gay Critic)

Rebecca Trehearn is memorable as prostitute Marcy, railing against the sexism so rife around her. (The Stage)

For me the star of the show was Rebecca Trehearn (Marcy) whose vocals during the title number take the show up a notch. Trehearn showcases versatility throughout. (West End Frame)

Rebecca Trehearn sparkles as Marcy, a grotesque lush with comically bad toilet habits. (Exeunt)

The wow moment for us came with Rebecca Trehearn’s Marcy (a call girl who is hired to compete in the dog fight) and Rose’s powerful duet... The hairs on the back of my neck stood as the duelling voices soared. (To Do List)

Rebecca Trehearn distinguishes as gutsy call-girl Marcy. (Bargain Theatre Land)

Rebecca Trehearn as Marcy the prostitute stands out with a great voice which makes the title song a thrill of vocal gymnastics. (Whatsonstage)

The person who steals the show for us is Rebecca Trehearn as Marcy. Her vocals in ‘Dogfight’ are something else, and she can definitely hold her own against her off-West End counterparts. If there is a reason for an official London cast album, it is for her.
(A Younger Theatre)

The moment comes, courtesy of semi-toothless call girl Marcy (a gloriously grim Rebecca Trehearn).... the ensuing duet wonderfully showcases the sublime vocals of both. (Broadway World)

A sleazy tart called Marcy is played with oodles of erotic oomph by brunette bombshell Rebecca Trehearn. (Spectator)

GHOST, UK TOUR
Rebecca Trehearn does a magnificent job of portraying the grieving and confused Molly Jensen... Clutching a pillow, it was clear to see the pain etched into Miss Trehearn as she belted out the heartfelt ballad With You, as audience members quietly sniffled into their hankies and wiped away tears. (Scottish Daily Mail)

Rebecca Trehearn plays Molly, who after the wizardry and tech of the ensemble numbers, through all the effects and magic, proves she can still hold an audience fuelled only by emotion and her voice. (The Public Reviews)

The characters’ dramatic arcs are brought to life with skill and charm... Trehearn is heartbreaking as Molly, the sculptor who can’t get on with her life after Sam’s death. (All Edinburgh Theatre)

Rebecca Trehearn as Molly is simply amazing. There are not many performers I’ve seen that can give me the “hair on the back of the neck” experience. She has previously won the “Wow factor” on S4C, and on last night’s performance you can see why. (Music Eyez)

Trehearn portrays Molly with a technically and emotionally superb performance. (Musical Theatre Review)

Stewart Clarke and Rebecca Trehearn capture the love, passion and joy of Sam and Molly... Molly is left mourning the loss of her partner, which is felt in emotional songs performed exquisitely by Trehearn. (Backstage Pass)

The most intriguing character (and hardest to portray) is that of Molly... Rebecca Trehearn is more than equal to Clarke’s Sam in voice and presence, and faced with this harder task of embodying naturalism within an unnatural framework, her efforts are commendable. (Matthew Floyd Jones)

Rebecca Trehearn as Molly, plays the emotional centre of the play with passion and grace as she struggles to work through her uncomprehending grief and her glorious vocal is well suited to the powerhouse ballads like the gorgeous With You. (Ought To Be Clowns)

Trehearn conveys the raw emotion of losing someone you love succinctly, and both the frustration and hopefulness of a girl trying to move on with her life. Both soar in their various rock and pop infused solos and duets. (Musicast)

Rebecca Trehearn returns to the role of Molly Jensen and is joined by Stewart Clarke as Sam Wheat. The chemistry between the two is electric on stage from the first time they are seen in the loft apartment right up until the final goodbye. In Stewart and Rebecca the show has the strongest Sam and Molly since the show began. (Eurythmics)

Rebecca Trehearn compliments [Stewart Clarke] perfectly as Molly and her beautiful rendition of the haunting ballad, With You, surely must be one of the highlights of the show. (Express and Star)

Rebecca Trehearn is endearing and delicate as Molly, taking a mostly deflated, torn and forlorn character and rounding her out into a sympathetic, likable young woman, offering an innocent, easy charm over the more cynical and even grumpy interpretations of the role other actresses have delivered... It’s pivotal to the success of the show that the audience are invested in Molly and Sam, and Trehearn and Clarke do a wonderful job of realising and facilitating this, crafting an evidently passionate (both physically and emotionally) duo whom it is very easy to root for and not wish to see so tragically torn asunder. (Kidderminster Shuttle)

Joining Stewart is Welsh actress Rebecca Trehearn, as heartbroken Molly... Her innocent poise yet powerhouse vocals bring Molly’s story to life. I defy anyone to experience Trehearn’s crushing solo number With You and not be moved. (Vada)

This is a production built on the four fantastic performances of its stars. Rebecca Trehearn and Stewart Clarke are a wonderful pairing as lovers Sam and Molly. She sings with such emotion it breaks your heart. (Bristol Post)

This production appears to be Trehearn's big break and it's well deserved. She is a powerhouse of emotion combined with heart-breaking vulnerability and the chemistry between the two young lovers really works. (Bedfordshire News)

Clarke and Trehearn have a brilliant on stage chemistry... Trehearn gives an outstandingly good performance of With You which is a powerful ballad that explores the utter desolation felt by a partner struggling to cope with the death of her soul mate... The pottery scene is beautifully acted. (Northampton Chronicle)

The musical’s Molly Rebecca Trehearn’s voice is achingly beautiful and her simply soulful performance of With You, an ode to her late boyfriend and their lost love, almost had me reaching for the tissues - no mean feat. (Sunderland Echo)

Trehearn moved the audience to tears, literally, on more than one occasion with an outstanding and emotional performance as Molly. (The Bridge Radio)

Trehearn is the heart of the musical as the grief stricken, vulnerable Molly. Molly’s song ‘With You’ was an emotional high point of the first half. (Fashion Mommy)

Rebecca Trehearn is captivating, taking the audience with her as her life spirals into tragedy. Her voice, which is beautifully pitched, has warmth and vibrancy, and she sings her heart out for us. (Reviews Gate)

Rebecca Trehearn as Molly is mesmerising, dipping between the highs and heart-rending lows of her situation with such ease of will it is a delight to behold. (Click Liverpool)

Clarke as ghostly Sam and Trehearn as Molly give wholly convincing and naturalistic performances; the still quiet centre of the wiz-bang production. Their singing is easy and relaxed. The key relationship moments in the film are carefully played with respectful restraint; yet the sexual and tragic tensions they create together are truly heart wrenching. (Virtual Shropshire)

Tackling the challenging role of Molly Jensen, Rebecca Trehearn’s vocals were superbly controlled in every number, her performance of ‘With You’ showing off an impressive emotional and musical range. (Yoppul)

BERNARDA ALBA, UNION THEATRE
Rebecca Trehearn is fantastic and beautifully-voiced as the moodily intense Martirio. (The Public Reviews)

Particular stand out performances come from Rebecca Trehearn as the rejected ugly daughter Martirio. (Fringe Review)

Rebecca Trehearn’s Martirio shifts unsettlingly from dull-eyed disappointment to fierce jealous rage. (British Theatre Guide)

ALFIE, WATFORD PALACE THEATRE
He is blessed with two fine musical theatre actresses in Rebecca Lock and Rebecca Trehearn, who bring real depths of feeling to their laments about love’s lost labours. (Evening Standard)

Day is well supported by Alfie's various girlfriends, especially Ceri Ann Gregory as Siddie and Rebecca Trehearn as Annie, both of whom handle their torch songs with real style. (Chase Side)

WHISTLE DOWN THE WIND, EDINBURGH FESTIVAL THEATRE
Fine performances too from Jonathan Chesworth, as the escaped convict mistakenly assumed to be Jesus by the children, and Rebecca Trehearn who performs a number called Angels which, along with the divine harmonies of Hymn, is a real showstopper.- (Herald Scotland)