“Ellis does the heavy comic lifting… funny, broad and bawdy humor in classic Carol Burnett fashion”

Certainly, Riverside’s production amplifies the music and the humor. Directed with energy and invention by DJ Salisbury, Honky Tonk Angels turns into a lively showcase of three wonderful performers — Bailey Purvis, Kylan Ritchie and Natalie Charlé Ellis, who does the heavy comic lifting here. Add to that a country band led by Broadway music director Brent-Alan Huffman and all those Bubbas and Daisy Maes hidden in your American heart will land in hog heaven.

The show opens with a beautiful, harmonic “I’ll Fly Away,” then lights come up and you see three homes. There is the Waxahachie, Tex. double-wide trailer of Angela Bodine (Ellis), the mother to a couple of hellions and wife of Bubba, a truck-driver who’d rather go to a tractor pull than go out for dinner with his wife. A Broadway performer (original cast member of Beetlejuice and School of Rock) Ellis has such a strong voice that she can keep tune while serving up some very funny, broad and bawdy humor in classic Carol Burnett fashion. What’s especially appealing about her performance is how she lets the audience in on the jokes, like when she purposely sprays starch on her husband’s jock strap or lets the iron burn his shirt while sarcastically singing “Stand By Your Man.” But nothing can top her yelling at her kids to “put it down” because “the chainsaw is daddy’s toy!”

—Bill Hirschman, Florida Theater On Stage

“Deadpan delivery and quick pivots… a masterclass in comedic presence”

The biggest laughs of the night come from Mrs. White (Natalie Charle Ellis). Ellis stepped in mere days before opening after Jennifer Simard left. Her deadpan delivery and quick pivots between breakdowns and icy composure make Mrs. White a riot.

Watching Ellis twitch through dinner is a masterclass in comedic presence. Together with Mr. Green’s repressed anxiety, they keep the party’s energy high. Ellis’ White had the audience laughing all night, cementing her as a standout.

—Kobi Kassal, Theatrely

“Watch an actor relish their part… at the top of her class”

Natalie Charlé Ellis lit up the stage in Brigadoon, fully reveling in every sly grin and playful bit of timing this comic role offered. It was clear how much she enjoyed sinking her teeth into the material, bringing an effortless delight that rippled out into the audience. Her performance reminded us just how captivating it is to watch an actor relish their part.

Ellis also stood as a rare modern example of an alto leading with charisma and spark — a refreshing break from typecasting. If more diverse vocal types were still being written for, there’s no question Ellis would be at the very top of her class and a household name. Her turn in Brigadoon was a vibrant testament to that overlooked truth.

—Greg Kerestan, BroadwayWorld

“A warmth that anchored the production… added both sparkle and depth to the story”

Natalie Charlé Ellis brought Georgie to the stage with an effervescent charm that lit up every moment she was on. Her performance balanced sass and sincerity in equal measure, making Georgie both irresistibly funny and genuinely heartfelt. Whether sharing tender moments or delivering sharp one-liners, Ellis infused the role with a warmth that anchored the production.

Her pleasant voice carried effortlessly through the theatre, matched by a presence that drew the audience in and made them care. Ellis’ Georgie felt like the emotional heartbeat of the ensemble, a character audiences could root for as she added both sparkle and depth to the story’s more vulnerable beats.

—Dylan Shaffer, BroadwayWorld

“Sass and sincerity… consistent laughter while anchoring the story’s emotional core”

Among a cast brimming with talent, Natalie Charlé Ellis delivered an uproarious performance as Georgie. Her brash comedic timing and infectious energy lifted every scene she entered, turning her moments into the kind audiences remember long after the curtain falls.

Ellis’ warmth and gusto brought Georgie to life with a mix of sass and sincerity that felt both hilarious and heartwarming. She balanced the show’s broad laughs with a tender humanity, drawing consistent laughter while anchoring the story’s emotional core. Her performance proved to be the spark that kept the stakes bright and the humor rolling.

—OnStage Pittsburgh

“A grounded force, making her every note and glance feel loaded with meaning”

Natalie Charlé Ellis brought Emma to vivid life with a layered performance that balanced bitterness, sly humor, and undeniable vocal command. Her portrayal of Lizzie’s older sister was infused with both quiet resentment and a sharply observant wit, giving the character a presence that kept the audience leaning in.

It was through her singing, though, that Ellis truly cemented Emma as a standout. Her remarkably deep, powerfully filled alto range cut through the intense rock score with arresting clarity, commanding attention every moment she sang. In a production overflowing with raw energy, Ellis offered a grounded force, making her every note and glance feel loaded with meaning.

—Kristina Nungaray, BroadwayWorld

“Thoughtful, restrained portrayal… gave the audience something more complex to hold onto”

In a show driven by raw rock energy and turbulent emotions, Natalie Charlé Ellis stood out for her thoughtful, restrained portrayal of Emma. As Lizzie’s older sister, she provided a vital contrast to the surrounding chaos, her calm surface often hinting at a sly undercurrent that added layers to the story.

While the production charged forward with feverish momentum, Ellis anchored it with nuance, allowing Emma’s composed exterior to serve as both foil and quiet echo to Lizzie’s unraveling. Her choices gave the audience something more complex to hold onto — a sense that beneath Emma’s collected front, deeper fears and loyalties churned. It was a performance that subtly elevated the stakes, making Lizzie’s ultimate path feel even more haunting.

—D. L. Groover, Abby Koenig and Jim J. Tommaney, Houston Press

“Left an unforgettable mark… the stage itself softened around her”

Though this was Dolly’s show, Natalie Charlé Ellis’ performance as Irene Molloy left an unforgettable mark. With a voice that soared effortlessly, she infused the young widow and milliner with a touching grace that pulled at the audience’s hearts. There was a delicate sincerity in how Ellis navigated Irene’s hopes for a second chance at love, bringing the character’s quiet longing into sharp focus.

Her scenes opposite Cornelius were especially charming, filled with shy glances and gentle, blooming delight. Ellis handled these moments with such a light, authentic touch that it felt as if the stage itself softened around her. When she launched into “Ribbons Down My Back,” the notes floated through the theater, layered with both vulnerability and bright anticipation, anchoring one of the production’s most tender highlights.

—Susan Vaughn, Barnstable Patriot

“An extraordinary vocal instrument… emotional resonance that lingered long after the lights faded”

Natalie Charle Ellis brought Irene Molloy to life with a sweet dignity and understated longing that beautifully balanced the production’s more boisterous moments. There was a quiet, hopeful vulnerability in how she played the young widow, making Irene’s cautious steps toward love feel both tender and deeply real.

Her rendition of “Ribbons Down My Back” was a standout, showcasing an extraordinary vocal instrument that wrapped the audience in warmth and gentle promise. Ellis didn’t just sing the notes — she seemed to breathe new life into them, giving Irene’s story an emotional resonance that lingered long after the lights faded. Watching her navigate Irene’s inner world was to witness a performance both moving and completely beguiling.

—Roger Shoemaker, Cape Cod Times

“Soaring vocal stylings while giving the audience a knowing wink… added texture and surprise to the night’s tapestry”

In a show brimming with zingers and playful jabs at Broadway’s elite, Natalie Charlé Ellis carved out a standout moment with her delightfully sharp take on Audra McDonald. Her impression was both affectionate and sly, catching the very essence of McDonald’s soaring vocal stylings while giving the audience a knowing wink.

Amid the frenetic energy of the revue, Ellis brought an extra layer of sparkle, cycling seamlessly through roles and landing each parody with crisp comedic timing. Her fearless send-ups added texture and surprise to the night’s tapestry of satire, proving once again why Forbidden Broadway remains such a beloved institution.

—Adam Feldman, TimeOut

“Each note was delivered with theatrical extravagance… balancing affectionate parody with razor-edge truth”

Natalie Charlé Ellis delivered astonishingly precise vocal send-ups in Forbidden Broadway, capturing Audra McDonald’s lush, overwrought phrasing from Porgy and Bess with such flair it danced on the edge of tribute and gentle mockery. Each note was delivered with theatrical extravagance, drawing out the grandeur of McDonald’s style in a way that was as delightful as it was knowing.

Equally biting was her turn as Catherine Zeta-Jones, channeling that infamous 2010 Tony Awards performance of “Send in the Clowns.” With an unfortunate breathiness and just-off intonation, Ellis mirrored Zeta-Jones’ appearance to hilarious effect, prompting the audience into waves of laughter. Her instinct for balancing affectionate parody with razor-edge truth made these moments stand out as highlights of the entire revue.

—Ben Brantley, The New York Times

“Clever, pointed, but always rooted in a deep love… impeccable instincts for both musical mimicry and playful exaggeration”

Natalie Charlé Ellis brought a razor precision to her parodies, offering up delightfully sharp send-ups of Broadway royalty. Her takes on Audra McDonald and Kelli O’Hara struck a perfect chord — clever, pointed, but always rooted in a deep love for the craft, making them irresistible to watch.

It was Ellis’ turn as Catherine Zeta-Jones, though, that truly brought down the house. With a breathy, overdramatic flourish, she transformed “Send in the Clowns” into “Send in the Hounds,” drawing howls of laughter — both from the audience and quite literally offstage. It was a moment of sly brilliance that showcased Ellis’ impeccable instincts for both musical mimicry and playful exaggeration.

—Lighting & Sound America

“Fearless physical comedy… every bit made her a standout”

Natalie Charlé Ellis brought fearless physical comedy to Forbidden Broadway, twirling around Mr. Foster like a human pole and diving headfirst into each spoof with infectious glee. Whether playing a Smash-obsessed Katharine McPhee or suddenly flipping into a rigid Mary Poppins, Ellis’ commitment to every bit made her a standout in the frenetic revue.

It was her take on Audra McDonald as Bess, though, that truly brought the house down. Too funny — almost insulting if it weren’t so uncannily spot-on — Ellis nailed the delicate line between affectionate parody and razor-sharp roast, making each impression land with joyful, knowing delight.

—JK, JK’s TheatreScene