ABOUT
"A gifted singer and excellent actress... astonishing."
- Wynn Handman
"Superb"
- The Hollywood Reporter
"Funny, endearing"
- The New York Post
"A chameleon"
- The Los Angeles Times
"[Annie has] a rangy, powerhouse voice... like all the best cabaret performers she presents each song with all the richness and detail of a one-act play."
- TT n Sheldy
Annie McGreevey is an actor, singer, writer, director, and teacher, with a career spanning over 40 years. She has been featured on Broadway and in London’s West End in some of the theater’s biggest hits, including Sweet Charity, Company, Sweeney Todd, and Annie. Other American venues include: Lincoln Center, City Center, West Side Arts Theater, the American Place Theater, the Kennedy Center, Arena Stage, the Long Wharf Theater, St. Louis Muny Opera, Long Beach Civic light Opera, Dallas Opera House, the Library of Congress, and the Metropolitan Opera.
Her career has included extensive work as a solo artist, playing characters as diverse as Angel Eyes, the murdered go-go dancer, in Joyce Carol Oats’s I Stand Before You Naked; Rona Marie Prescott, a trauma nurse serving in Vietnam, in Voices of War, commissioned by the Library of Congress and dramatized and directed by Wynn Handman; and the title character, an 80-year-old Holocaust survivor, in Martin Sherman’s Rose.
Among the people Annie has worked closely with over the years are Peter Coe, Alan J. Lerner, Burton Lane, Bob Fosse, Cy Coleman, Harold Prince, Michael Bennett, Stephen Sondheim, Stephen Swartz, Grover Dale, Jonathan Lynn, Joshua Logan, Garry Hynes, and Wynn Handman.
A scholarship graduate of the American Academy of Dramatic Arts and AFI’s Directing Workshop for Women, Annie is a founding member of the Alliance of Women Directors.
"Unforgettable."
- Joyce Carol Oates
Selected Reviews:
"Make a particular note of Annie McGreevey, a comedienne of notable talent, with the rouged cheeks and urchin smile of a young Giulietta Masina..." - The Times of London
"Marvellous talent... [Annie] demonstrates mastery of all the skills demanded by the American musical stage at its scintillating best." - Jewish Chronicle London
"Heart-rending" - Newsday
"Able to communicate an empathy with her character... with a naïveté that counterpoints the morbidity of the material." - The New York Times
"Makes a strong impact" - Variety
"The passion of a Weill heroine." - Punch