"Lavine rhymes with 'divine', and Audrey Lavine's new show most emphatically is that. Titled Simply Lavine ... this is a musically rich show that blends her warm, audience embracing voice with the ensemble playing of Ross Patterson on piano, John Loehrke on bass, and Jerry Dodgion on saxophone, flute and clarinet. In fact, the deep pleasure that the show offers was shown as much on their faces as they played Ross's impeccable arrangements as it was on the audience's faces as they listened.... As she shifts among blues and ballads, revealing their nuances, Audrey and her music create a connection with her listeners' hearts.... Audrey Lavine's show spotlights a performer who keeps exploring and growing - and giving us lovely music."
— Peter Haas, Cabaret Scenes
 

 
"...the full-voiced Audrey Lavine impresses."
— John Simon, New York Magazine review of Rags at the Mark Hellinger Theatre.
 
 
"A voice that is a truly beautiful and flexible instrument ... a charming humor that never seemed forced."
— Don Nelsen, New York Daily News cabaret review, The Ballroom.
 
 
"The cabaret critic is not supposed to clap, stamp his feet, stand on his chair and cheer ... however, in the case of Audrey Lavine ... we are sorely tempted to break all restraints."
— Ronn Mullen, Topman Magazine, extended engagement at Ted Hook's OnStage.

"Singer-actress Audrey Lavine put on a classy show.... Wherever she takes it next, make sure to see it....Lavine showed off wide-ranging vocal and interpretive talents in an act that featured an eclectic mix of music ranging from Irving Berlin to Dolly Parton. Most impressively, the Divine Lavine rode the crest of Ross Patterson's exquisite and creative arrangements. She set up each song with patter both economical and well written; Lavine gave just enough information to give the tunes a jump-start, and then she performed each number as if in sync with the soul of its composer. A soprano who is precise and in control, Lavine nevertheless illuminated her material so effectively that she unexpectedly opened floodgates of emotion. "
— Barbara and Scott Siegel, Bistro Bits, Back Stage
 
 
"...Assured in Cheek to Cheek and One Mint Julep; sulky in Do You Want to Dance; mocking in Puh-leeze, Mr. Brown; pensive in How Said No One Waltzes Anymore. She reveals herself able to sing the whole keyboard, and can smoothly segue from ballad to jazz to blues to torch song. It's not only that this singer is likely to please, but also that her combination of beautiful voice and provocative personality guarantees never to bore."
— Barbara Leavy, Cabaret Scenes, February 2001, Dancing at Judy's Chelsea
 
 
"Audrey Lavine is riveting as Jo Carlson ... her expressive singing produces the play’s most haunting musical numbers."
— George Capewell, Miami Herald review of Premiere of Cowgirls, Caldwell Theatre.
 
 
"Miss Lavine has the dark, throaty voice that is the predominant solo sound of the trio ... bringing alive the spirit, the color and the immediacy of the Boswell [Sisters] singing as it can be heard on records."
— John S. Wilson, New York Times, The Heebie Jeebies, Westside Arts Theatre

"The songs of Harold Arlen cover such a wide range of style and content that almost any singer can find a number of songs that suit his or her style. However, for one singer to cover all the facets is a very demanding assignment. Yet that is what is being done by Audrey Lavine ... a vividly attractive young woman who has the relatively rare talent of being able to adapt a classically trained voice to the more colloquial demands of popular songs ... There are high, feathery areas in her voice on which she can float ... and there is a warmth in her lower register that gives a properly torchy edge ... she catches the dry wit of lyrics...and gives Over the Rainbow such an honest, straightforward projection that there are no reflections of Judy Garland."
— John S. Wilson, New York Times, Citicorp Salute to Great American Songwriters.
 
 
"I was very pleasantly surprised to discover this delightful lady and her marvelous voice! Ms. Lavine is a classically trained performer who has been absent from cabaret for some time - having played the original Soho BALLROOM, Ted Hook's ON STAGE and even THE KING COLE ROOM.... She is originally from North Carolina, and years of living in New York City have not worn off the soothing Southern charm that she exudes with every sentence. With Ross Patterson serving up his usual inventive but subtle arrangements, I found myself completely captivated by her performance. Most of the songs were older than I am, and yet presented with such refreshing energy they seem like they were just written yesterday! The Arlen-Mercer gem, I Had Myself a True Love gave me the chills! One surprise, Lieber/Stoller/Ray's Honey, Can I Put on Your Clothes was an erotic tour de force! ...An evening you will long remember!"
— Stu Hamstra, Cabaret Hotline Online, cabaret review, The FireBird.