“The most incisive presence by far is that OF jo LAMPERT. mS. LAMPERT has a matching way with a song that appropriates familiar elements of blues and bebop, heartbroken soul and Broadway pizazz, and turns them into something all her own. She has that aggressive, magpie stylishness that makes a person stand out in a big city.”
— Ben Brantley, New York Times
“[Joan of Arc: Into the Fire] is also spectacular, due chiefly to an electrifying performance in the title role by Jo Lampert, an actress of striking physical and vocal sinew who convinces us, along with the disheartened French troops, that she will not be deterred.”
— Jeremy Gerard, Deadline Hollywood
(on Jo as Joan of Arc in The Public Theater’s Joan of Arc: Into the Fire)
“… as Joan, Jo Lampert, a Brooklyn-based singer and DJ, is a vocal powerhouse and fearless stage animal.
I’d like to see Lampert in the Shaw…”
— Jesse Green for Vulture
(on Jo as Joan of Arc in The Public Theater’s Joan of Arc: Into the Fire)
“… there are flickers of [Patti] Smithian rapture in the poems performed by Jo Lampert …”
— Ben Brantley, NYT
(on Jo in The Civilians’ Rimbaud in New York at BAM)
“The most arresting performance of the night is from Jo Lampert, whose take on Mary Magdalene, she who wonders of love, is completely different from any you have seen before, and vocally spectacular to boot.”
— Chris Jones, Chicago Tribune
(on Jo as Mary Magdalene in Jesus Christ Superstar at The Lyric Opera of Chicago)
“The sophisticated vibe of the score is amplified by the lead vocalist, Jo Lampert, who has the torchy voice of a… cafe singer and the doleful visage of a Modigliani painting.”
— Marilyn Stasio for Variety
(on Jo as the Lead Lounge Singer in Bedlam Theater Company’s, Steven Sater’s & Burt Bacharach’s New York Animals at The New Ohio)
“Joan of Arc: Into the Fire presents Joan the warrior, Joan the martyr, Joan the rock god. If we don't get to see Joan the person, that's okay, because we get Jo Lampert instead, and she is extraordinary… Her voice is hypnotic, charging from a sibilant whisper to a defiant shout, and her face has a chameleon quality, shifting so drastically from the start of the play to the end that there were moments that I wondered if another actor had taken over the role… She shows remarkable range, not just vocally but as an actor.”
— from an essay by W.M. Akers entitled “The Power of Jo of Arc”, HowlRound Theatre Commons
“… Jo Lampert, whose soulful voice and natural air of youthful fervor are a perfect match for Joan… is worth watching in anything.”
— from The New Yorker’s “Goings on About Town”
(on Jo as Joan of Arc in The Public Theater’s Joan of Arc: Into the Fire)
“Some supporting players command attention. Best in show [is] Jo Lampert’s dynamic Mercutio, as a sort of ‘Anybodys’ on steroids, doing a killer ‘Eternal Life’.”
— Frank Rizzo for Variety
(on Jo as Mercutio in “The Last Goodbye” at Williamstown Theater Festival)
“Jo Lampert gives an achingly resonant performance as Will’s best friend Max, a boisterous and bawdy dude whose devotion to his friend is absolute and tinged with (seemingly platonic) yearning.”
— Sam Hurwitt, KQED.org
(on Jo as Max in The Bengsons’ Hundred Days at Z Space SF)