Bastille Day Celebration at Terasol Gallery and Restaurant

"Sally did a terrific job of balancing the many expected touchpoints of a program like this – Piaf, Josephine Baker, Brel, etc. with some lesser-known material and deft touches of her own.

The first great moment came at the beginning when she asked the audience to stand for the French national anthem and delivered a rousing version of La Marseillaise. Piaf’s Hyme a l’Amour was given a nifty Bach/jazz treatment. And an Eric Satie cabaret waltz harkened back to the days of the Post-Impressionists gathering at Le Chat Noir. As one expects of her, the program was meticulously sung, with the great support of James Fitzpatrick at the keyboard.

I was particularly impressed by Sally’s scripting. She did a great job of conveying enough information about the songs and switching to English to keep the non-French speakers on board. And she had a great sense of when it was fine to just shut up and sing the next song."

... Michael Miyazaki, Miyazaki Cabaret Update: DC & Beyond. Full Review

The Corner Store, Washington DC

"Martin is an elegant singer, yet she performs with an ease and comfort that makes her audience part of her romance."
... Michael Miyazaki, Cabaret Scenes Full Review

"Another Time, Another Place" CD Release Concert at the Corcoran Gallery of Art, Washington, DC

"Sally Martin has got it all! She’s the perfect cabaret singer with a sultry voice, equally at home in both English and French and elegantly sexy looks and manner. What more can you ask for? At a special CD release concert two nights ago at the Corcoran, marking her third appearance, Martin mesmerized fans along with the backup of her musical director and pianist, James R. Fitzpatrick and Deborah Brudvig on cello. Her second CD is entitled, “Another Time, Another Place” and Fitzpatrick wrote the title song. It’s perfect cabaret stuff and as author Judith Viorst said on the CD’s liner notes, “It’s composed of dreams and memories, of loves lived, lost and longed for.” D.C. is Sally Martin country. It’s time we let the rest of the country in on what we have!"
...Rich Massabny Producer/Interviewer/Reviewer “Arlington Weekly News TV” CHANNEL 69

"WOWIE! Tonight’s audience at the Corcoran was privileged to see an artist working at full steam. Although she has enormous technique, she was comfortable enough to abandon it when necessary to support her communicative choices. She also looked amazing. Her music director, James Fitzpatrick (‘s) arrangements suit Martin’s strengths fabulously. The two have developed the best version of Sondheim’s “So Many People” that I have ever heard. And Fitzpatrick’s song Another Time, Another Place was the highlight of the evening. Deborah Milan Brudvig provided lovely, sensitive support on the cello."
...Michael Miyazaki,

"Jacques Brel Is Alive and Well and Living in Paris" Everyman Theatre, Baltimore

"Miss Martin is superb in some of the show's most touching numbers."
Curtain Up

Baltimore Sun

"Sally Martin has a fine way with a torch song."
Potomac Stages

"Sally Martin brings a clear voice, sharp phrasing and first-rate dramatic skills to everything she does. Listen to her solo numbers:
'I Loved,' 'Sons of,' 'No Love You're Not Alone,' and 'Marieke' and you'll know you're in the presence of a confident cabaret veteran."
Towson Times

"A Washington cabaret singer of note, Miss Martin has a vibrato that lends nuanced expression to 'I Loved' and the wrenching 'Marieke.' …"A combination of heartfelt singing and sophistication...."
The Washington Times

“In Good Company: Sexual Icons” Horizons Theatre

“ Sally Martin is equal parts glamour and languor as Dietrich, sauntering in a tux and top hat for most of the show but stripping down to 1930s lingerie for one of Dietrich's numbers. Martin's wonderfully controlled singing is both dreamy and wise -- not a bad combination when you're mimicking Dietrich….”
…Nelson Pressley, The Washington Post

“My Name Will Always Be Alice” Horizons Theatre

”For sheer performance, the best thing in the show is Sally Martin's savvy rendition of "The French Monologue and Song,"' in which standard French phrases are strung together with great emotion by a woman who changes national identity the way other people change hairstyles.”
…Nelson Pressley, The Washington Post

“When Sally Martin declares that French is the language of love (working the diphthong in "lahn-goowah-dje" for all it's worth), she means pretty much any old French word that pops into her addled little brain. And she proves it by purring a torchy ballad made up of random gallicisms she apparently picked up from a Berlitz primer - "'Chauffeur," she growls sexily, "Champs Elysses ... Maurice Chevalier .. a la carte ."
…Bob Mondello, Washington City Paper

“Don't Ask Me Not to Sing” Danny's Skylight Room, NYC

“FROM WASHINGTON, D.C., SALLY MARTIN is making her New York cabaret debut at Danny's Skylight Room. Her appearance and presence are as lovely as her legit/classical voice is beautiful. Her rendition of Stephen Schwartz's "Chanson" is especially fine, and she does a dramatically effective interpretation of "Rapunzel" by Shelly Markham and Judith Viorst. “
…Roy Sander, Backstage


"Kabarett: An Evening of Cabaret with Sally Martin" at The Corcoran Gallery of Art

“The German tone foretold the Marlene Dietrich/Kurt Weill part of the performance as Sally introduced her "guest appearances" replete with props, Fraulein Dietrich front and center. French balanced the evening with a homage to Jacques Brel and a beautiful rendition of the poignant "Complainte de la Seine." Sally told the audience that love was the theme of the program and noted that "the most strange place" for the best of all emotions is "the male brain." This was borne out in her rendition of "At Times Like This"—"I sure could use a dog." This classically trained singer found that the medium of cabaret enables her to relate more directly with her audience, and so she did with style to spare.“
…Mary Bird, The Georgetowner


"Encore Paris!" The In Series

”An evening of vintage singing by Sally Martin and Byron Jones…. (of) the songs of Edith Piaf, Jacques Brel, Charles Trenet, Gilbert Becaud and such classical crossover composers as Erik Satie, Francis Poulenc and Kurt Weill…The performances are polished, well paced and contrasted, and wittily staged--particularly a segment in which Jones and Martin, decked out as Yankee tourists, sing American songs about Paris. In the Piaf songs (including "Padam, Padam," "Milord" and "La Vie en Rose"), Martin prefers her own distinctive and eminently satisfying approach. “
...Joseph McLellan, The Washington Post


“Journeys” The In Series

"Harold Arlen's "When the Sun Comes Out" was smokey blue with George Fulginiti-Shaker's smoldering accompaniment on the synthesizer. Bluer still was "Warm All Over." She belted out this Frank Loesser heartwarmer in a characteristically flexible style, shimmying on to and off pitch with colorful aplomb. A chorus of muted horns from the versatile synthesizer backed Martin's subdued lounge version of "Falling in Love Again." Kurt Weill and Bertolt Brecht's bawdy &quotBarbara Song" offered bright contrast. Delivering its wide-ranging vocal lines with animated clarity and focus, Martin agilely matched Bob Tartaglia's lavish piano counterpoint.

The whimsical "Someone Is Sending Me Flowers" broke up the crowd, especially during moments of irreverent synthesizer commentary that included door chimes. Martin portrays love in many guises, from touching intimacy to wacky burlesque. Nowhere did she portray romantic vulnerability more convincingly than in "La Vie en Rose."

On the other hand, she also lolled atop the grand piano while seductively embodying a flirtatious vamp in Ben Schaechter and Dan Kael's explict, raunchy ode to animal magnetism 'He Knew How to Read Me.' “
…Mark Longaker, The Washington Post


"To Paris with Love" The In Series

”Martin prudently did not try to imitate Edith Piaf in "Milord" and "La vie en rose," two of this century's most haunting songs. She created distinctive interpretations that made the words and music her own.”
…Joseph McLellan, The Washington Post


"A Berliner Kabarett" The In Series

“A cosmopolitan singer with a strong talent for cabaret…Recalls such great stylists of the '30s as Marlene Dietrich and Lotte Lenya in the way she inflects a phrase to bring out subtle emotion.”
…Joseph McLellan, The Washington Post


“Don't Ask Me not to Sing” at Don't Tell Mama's, NYC

"She has an instantly likeable presence, sort of a sophisticated pixie. She clearly has a firm grip on her conception of a song..."
…WVOX, Westchester, N.Y.

“Her show is a fine presentation of a versatile sound.”
Punch-In International Syndicate

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