"Leigh Barrett's 'Send in the Clowns' is a thing of beauty.  There is no local musical theatre performer who sings with such pitch perfect,  golden-toned resonance, and the acting chops to effortlessly deliver every nuance of feeling and meaning as Ms. Barrett."
- Joyce's Choices on "Sondheim On Sondheim"

"Leigh Barrett, making an impressive professional directorial debut in this New Repertory Theatre production, guides her cast of four - David Foley, Brian Richard Robinson, the ever delightful Kathy St. George, and herself - breezily through the show's 26 contemporary songs."                                                                         
-BroadwayWorld.com on "Closer Than Ever"

"Playing Joanne, the jaded socialite made immortal by Elaine Stritch, Barrett takes an emotional journey in “The Ladies Who Lunch’’ that travels in the space of a few minutes from confident mockery to a kind of self-recognition mixed with equal parts disgust and defiance. It’s a small master class in how not just to sing but to act a song. Moonbox cast, watch this woman closely."
-The Boston Globe on "Company"

"Having one of the most powerful trained singing voices in Boston, Barrett swoops and soars off-key without ever making it cartoon-y. She is particularly funny when rehearsing "Ave Maria" (the Schubert version of course!-- the Gounod version is purely for mezzos, she dismisses). Leigh then delivered "Ave Maria" with such breathtaking precision that it brought a standing ovation from the audience."                                   
-OnStage Boston, on "Souvenir"

"Leigh Barrett is simply extraordinary in this dual role, creating both 1941 Edith's manipulative devotion and 1973 Edie's inchoate rebellion with consummate subtlety and detail. Her singing has never sounded better, nor more infused with the peculiarities of each character; Little Edie's bizarre accent, which Barrett replicates with uncanny precision when speaking, even colors her songs."
-Boston.com on "Grey Gardens"

 
"Any production that gives the silken-voiced Leigh Barrett two chances to sing - once as the Ghost of Christmas Past and the other as Mrs. Cratchit - knows what it's doing."                       
-On Boston Stages, on "A Christmas Carol"

"Leigh Barrett, the wonderful local favorite who plays Rose in the Stoneham Theatre's solid production, has the big voice and big presence that the part requires. She also has the sensitivity to reveal Rose's softer, more human side; we can see clearly that Rose's ruthlessness, however excessive, grows not just out of her own show-biz ambitions but out of genuine love for her daughters she pushes onstage. Barrett's singing is, as ever, terrific; its sheer pleasure to hear her power her way through "Everything's Coming Up Roses" or, more subtly, reveal her charm and humor in "Small World" 
-The Boston Globe, on "Gypsy"

The golden voiced Leigh Barrett is another stand-out in the role of the cougar-woman, Katisha, on the make for the young prince, Nanki-Poo, the son of the Mikado who ran away from court to escape her clutches. With an impressive vocal range and a pungent sense of fun, Barrett manages to generate sympathy for her character, despite being dressed like the Wicked Witch of the West, complete with a smoke-filled entrance.
-Fuse Theatre, on "The Mikado"

"Leigh Barrett stars as Jeannie Garstecki, the agoraphobic housewife who, indeed, hasn’t left her trailer in 20 years, ever since her son was kidnapped while she was sobbing hysterically over a really bad perm. In these expert hands, both Norbert and Jeannie project real human warmth amid all the silliness; Benoit and Barrett both know how to play extreme comedy without losing the connection to genuine emotion that makes it even funnier. A flashback scene, in which we see the mullet-and-headband-sporting pair meet cute over geometry homework, is a marvel of silly sweetness."
-The Boston Globe, on "The Great American Trailer Park Musical"

"Fortunately, Alice makes her way into the Queen of Hearts’ turf, and once Barrett arrives, the pieces come together with amazing clarity. Although we met her in the first act as Alice’s mother, here Barrett displays her utter command of the stage, combining impeccable comic timing with her imperious “Welcome” number, and then delivering a wrenching “Paint the Roses Red,” in which the queen reveals her vulnerability: It’s her wish to capture perfection and avoid change."
-The Boston Globe, on "Alice"

"It is Leigh Barrett as the much put upon but wry Countess, however, who delivers the most richly textured performance of this quartet. Her impeccable timing and understated sarcasm incite waves of laughter during her lighter moments, but with a self-effacing awareness of the indignities she regularly suffers at the hands of her husband's infidelities and bravado, she also touches the audience with a profound sadness. Not to indulge in self-pity for long, though, she quickly flicks away the pathos with another rapid-fire round of comically barbed truths."
-BroadwayWorld.com, on "A Little Night Music"