The Best Is Yet To Come
Review: “At the performance this critic attended, Natascia Diaz was a brilliant stand-in for the absent Miss Mayes, and offered a sassy opening solo with, “Nobody Does It Like Me.”
Review: "New face, Natascia Diaz, replaced the temporarily absent Sally Mayes the night I caught the show. She was a revelation. A true professional, she sang her songs as if she had been singing them all her life, particularly standing out as she sauntered through "With Every Breath I Take."
A Chorus Line
Ionok.com: “Cassie’s in Metro productions come and go, but none has matched the perfection of Natascia Diaz’s performance in the role. Her vocal supremacy on “The Music in the Mirror” ranks with that of Donna McKechnie, the original Broadway lead, and her dance turn was superbly executed.”
The Journal Record: "Natascia Diaz is outstanding…"
DCTheatre Scene: “At first, Natascia Diaz seems to be channeling Googie Gomez (Rita Moreno’s hilarious role in The Ritz). Like Adelaide in Guys and Dolls, Rosalie gets a lot of mileage, and a lot of laughs, out of her matrimonial plight. Diaz keeps the audience in stitches with her lover’s lament and the barbs she directs at Marco, the cad she adores. Diaz flawlessly delivers one of the shows most appealing songs, “Always, Always You.” You can almost hear her purse click shut as she picks up the show, drops it in, and walks off the stage at the end of the number.”
Washington City Paper: “Natascia Diaz, on the other hand, is the very embodiment of Broadway brass as Rosalie, the magician’s assistant and mistress. She’s the real thing, and when she’s on, the stage comes reliably to life—and one of those times, she’s locked in a box with swords stuck through her, so I’m just sayin.’”
TheaterMania.com: "Meanwhile, it's Diaz who truly lights up the stage as Rosalie. She shows expert comic sensibility yet reveals layers of nuance. Rosalie may be devious, but her love for the supercilious Marco turns out to be pure -- and her duet with La Cause, "Always, Always You," is lovely enough to transcend the tawdry elements of their relationship."
A Little Night Music
Washington City Paper –“There are compensations...as is the neat jewel of a scene Sondheim gives to Anne’s maid toward the end of the evening; Natascia Diaz draws layer after layer of feeling from “The Miller’s Son”, making it every bit the show stopper it is expected to be. Sunday’s audience thanked her for it, too; she caused as much clamor at the curtain call as any of the stars.”
Washington Post - “And a frisky servant named Petra steps forward late to offer “The Miller’s Son”, a head long rush of free spirited passion that Natascia Diaz, chin held high, imbues with cocksure sass.”
Man of La Mancha
Ithaca.com: “But the centerpiece of the show, dramatically speaking, must be the character of Aldonza (Natascia Diaz), a scullery maid and sometime prostitute who finds herself renamed Dulcinea by Quixote; Diaz was simply on fire the entire evening, at first cracking wise and keeping up a tough front very much in the Rita Moreno mold, and then allowing Quixote's adoration to crack her façade and show a heartbreaking vulnerability behind her toughness. Diaz was in the moment every step of the way, even saving her dignity during the musical's still controversial rape sequence. In that moment, the attackers dance with her one by one in choreography as invasive and disturbing as it is somehow graceful. More than once, Diaz broke down into well-earned tears.
Syracuse.com: “Central to the action is the character of Aldonza (Natascia Diaz) who is renamed Dulcinea by Don Quixote. Her quick wit and duality of toughness and sensitivity is an actor’s tightrope, however, Diaz is an embodiment of the role, and delivers a stunning performance.”
The New York Times –“Here in the second act, Natascia Diaz as Catherine excels as the production’s sole complete claim to purity of purpose and performance.”
The Montclair Times –“In an evening of eye-catching psychedelic imagery and raucously pulsating music, of crotch grabbing hunks and Victoria’s Secret clad beauties strutting their stuff, of gory war montages, patricide and mother-lust, the most memorable moment of PaperMill’s “Pippin” is also the quietest. “I Guess I’ll miss the Man” sings the lovely Natascia Diaz in grief-tinged hush. As Catherine, the courageous and lovely young widow who has rescued Pippin from despair and possible death only to have him reject her offer of marriage as a threat to his freedom, Ms. Diaz stirs hearts and trips emotional circuits that have remained somewhat immune to much of the preceding theatric wizardry.”
Worrall Newspapers – “Although the entire cast is marvelous, it is the splendid Natascia Diaz who truly shines as Catherine, bringing love and fulfillment to the restless Pippin.”
Variety – “Bobbie also has the benefit of a couple of knockout second bananas in Natascia Diaz and Solange Sandy, whose “Baby Dream Your Dream” is a highlight of the show.”
Chicago Review –“......the dynamic Natascia Diaz”.
St. Paul Pioneer Press –“Surrounded as Applegate is by a bunch of stage professionals, her lack of projection is sometimes painfully obvious: supporting actress Natascia Diaz and Solange Sandy whoop it up in the raucous “There’s Gotta Be Something Better Than This”; in this trio, Applegate looks like a chorine instead of the marquee attraction.”
2006 LA Ovation Award Nomination BEST SUPPORTING ACTRESS IN A MUSICAL, Susan in TICK TICK BOOM!
Variety: "Diaz, who created her role Off Broadway, brings a haunting vulnerability and soaring vocal veracity to Susan. In one of the tuner’s most telling numbers, “Therapy,” Susan and Jon attempt to bridge the ever-growing commitment gap between them. They display the lighter side of their relationship in the comically seductive “Green Green Dress.” However, the musical highlight is Diaz’s sumptuous, power-lung rendering of the ballad “Come to Your Senses,” the show’s most melodically rich number."
Savage In Limbo
MD Theatre Guide: “Natascia Diaz practically ignites the stage as Denise Savage, an energetic and opinionated young woman that rarely stops talking and fidgeting. Lonely and stuck in a rut, Denise voices her torment (in a dead-on perfect Brooklyn accent, I might add), saying. “I see what could go wrong with everything, so I don’t do nothing.” Her energy is so palpable I would not have been surprised to see a trail of flames following in her footsteps.”
Washington Examiner: "But in her wild fantasies, it's clear that Denise won't be satisfied with any simple fixes to her situation. Diaz is stunning as this intense young woman who knows she is on a cliff and doesn't want to die there, who howls to anyone who can hear, "This is not life."
Alliance Theatre Review: “But the performer whom everyone will be talking about is Diaz. Her Inez is salty, funny, knowing and full of passion. As a performer she is peerless; every number she anchors delivers the goods.”
Atlanta InTown Review: “Natascia Diaz as Inez has that je ne sais quoi magnetism that makes it hard not to look at her.”
Trip Advisor: “Other standouts include Natascia Diaz as the Gypsy. Another great actress that the Producers were lucky to get. Like Carriere, she has a great stage presence and is the only one to match Carriere's abilities. These two are the obvious actors in the show and I wonder if they were chosen to complement one another. Diaz as the Gypsy was beautiful and the comedic relief that the musical needs. She and Carriere are really the only two performers who embrace their characters and give you Broadway worthy performances."