Naughton’s talent is undeniable. Her vocal talent is superhuman, her comedic timing is impeccable, and her engagement with the audience is effortless. She carries a marathon of a performance without a single falter, every note resoundingly clear and every joke pitch-perfect.
— Adrienne Sowers for The Reviews Hub
Trapped in the Closet | Feinstein’s 54 Below
Sarah Naughton rounds out the stellar cast in a mesmerizing appearance as the personification of Death. She looms, menaces, and entices with songs and dances that change in style through time... which Naughton executes with chilling panache... All three actors turn in flawless and affecting performances, endowing their roles with a significance that is at once realistic and metaphorical, entertaining and didactic, personal and universal.
— Deb Miller for DC Metro Theater Arts
Death Comes For The War Poets | Sheen Center
Sarah Naughton is a standout as the adult Patrick’s empty-headed too-privileged first fiancée.
— Dayton City Paper
Mame | Human Race Theatre Company | Dayton, Ohio
“Habanera,” the famous aria in Georges Bizet’s “Carmen,” remained an operatic feat, sung flawlessly and in keeping with classical tradition by Naughton.
— Ha D.H. Le for The Harvard Crimson
AcousticaElectronica | American Repertory Theater | Boston, Mass
Personifying death can be tricky and yet Naughton, for lack of a better term, slayed. Naughton’s Death was captivating and engaging. She had a mystery about her that, knowing what comes with her presence, was even more enticing. There was a delicacy to her performance as she danced her through the piece.
— Michael Block for Theatre in the Now
Death Comes for the War Poets | Sheen Center