Reviews and Press
Beautiful: The Carole King Musical (Village Theatre)
“Armstrong and Marino manage the perfect competition for King and Goffin while still taking on their own relationship issues. And their vocals are sublime.”
-Jay Irwin (Broadway World)
“There she meets Barry and Cynthia. Adam Marino and Krystle Armstrong are an adorable match. It’s so great to see Krystle back on local boards, and her voice is gorgeous. "
-Miryam Gordon (Miryam’s Theatre Musings)
Photos by Auston James
42nd Street (Village Theatre)
“Krystle Armstrong is an absolute knockout of a Peggy Sawyer, singing and dancing like a dream, but also investing her characterization with a winsome wackiness mixed with the butterflies in the stomach nerves the character has on the eve of her Broadway bow.”
-David-Edward Hughes (Talkinbroadway.com)
“Krystle Armstrong is excellent as ingénue Peggy Sawyer with her big, bright voice, but you might love more her comedic timing and attitude that’s reminiscent of Lucile Ball.”
-Kathleen R. Merril (Issaquah Press)
“As the would-be ingénue, Krystle Armstrong is a true triple threat performer. She acts, sings and dances like a dream.”
-Deborah Stone (Woodinville Weekly)
“Armstrong is lovely as the would-be ingénue and belts and spins her way right into your heart."
-(Broadwayworld.com)
“Then see Krystle Armstrong as the star-struck, small-town girl who comes to the big city to put her name up in lights when bread lines were forming across America. Armstrong tip-toes her way into your affections, then sings and tap dances her heart out. This gal’s got the spark and the sparkle.”
-Dale Burrows (The Enterprise)
Photos by Jay Koh
“Meanwhile, in the title role, Krystle Armstrong delivers chutzpah and spunk, and her singing is, well, crystal-clear. She’s defiant and determined in the opening gonna-make-it-in-New-York number, “Not for the Life of Me.” Armstrong dances so well that you can see right there in her physical movements early on how the small-town Kansas girl is giving way to the sophisticated woman of the 1920s.”
-Michael Bowen (Pacific Northwest Inlander)
THOROUGHLY MODERN MILLIE
(Coeur d’Alene Summer Theatre)
“This show boasts an utterly adorable Millie, as played by the multi-talented Krystle Armstrong out of Seattle. We learn in the show's very first number, "Not for the Life of Me," that Armstrong can belt out a show tune and sell a number. We soon discover that she's also a great dancer and talented comic actress with a flair for physical comedy. On opening night, she fell down beneath a typing desk and performed 15 to 20 seconds of Houdini-like gyrations in an attempt to extricate herself from the contraption. A woman behind me was positively breathless with laughter. Lucille Ball would have approved.”
-Jim Kershner (Spokesman Review)
PUTTING IT TOGETHER
(Coeur d’Alene Summer Theatre)
“The first of the evening's several highlights arrives with Krystle Armstrong's rendition of "Lovely" from *Forum.* She was batting her eyelashes so much, I could feel a breeze in the eighth row. Armstrong used her ballet skills to demonstrate just how "winsome" she was feeling.” (continued below...)
“Armstrong practically out-vamped Madonna in a couple of numbers from *Dick Tracy.* In the first, "Sooner or Later (I Always Get My Man)," her high kicks and rhythmic leaning toward Stokinger created some nice erotic tension. Later, in Act Two, Armstrong got nearly orgasmic as she out-lusted the Material Girl in a paean to greed called "More."”
-Michael Bowen (Pacific Northwest Inlander)