"Lighthouses don't go running all over an island looking for boats to save; they just stand there shining."   Anne Lammot


Astoria Performing Arts Center 

Jensen also drives the show in her own right. Mother undergoes a sea change of emotional realizations throughout Ragtime, which the actress underscores with subtlety and grace.  Jensen also has a gorgeous voice, put to great use in the number “Back to Before”.  Rare is the actress who can take a few minutes of standing still and alone on stage and turn it into a command performance.

Doug Strasser, offoffonline.com


Anna Lise Jensen as Mother is the anchor of the show.  It is incredible to think that this production is her New York debut; instead, one would mark her as a Broadway veteran.  Her acting was powerful and her voice equally so, the kind of talent that commands the stage and the kind of performer it is difficult to take your eyes off.

Georgina Young-Ellis, The Queens Gazette


Jensen, a stunning rehead, who hits all the right notes in scores like “What Kind of Woman” and “Back to Before”, exhibits a warm sophistication that makes her one of the production’s most captivating stars.  

Tanisia Morris, Showbusinessweekly.com


With her stunning voice and elegant style, Jensen slowly and skillfully reveals the fragility behind Mother’s perfect mask. 

Amy Krivohlavek, curtainup.com


Anna Lise Jensen brings not only her gorgeous soprano voice to Mother, but is extraordinaryas her character progresses from the starchy and dutiful wife of a rich businessman to a woman more alive to possibilities -- check out what happens to her at the end.

Arlene McKanic, Queens Village Times


Two performances rise above the rest... Jensen is blessed with a strong, clear voice and anexpressive face; her journey from yielding wife to an independent thinker with a social conscience is arresting. 
Shari Perkins, Theatreonline.com


Another gut-wrenching, tear-jerking solo by beautiful Anna Lise Jensen as “Mother” underscores a night of intensity that reverberates through each musical soliloquy.  

Cliff Kasden, The Queens Courier


[Jensen’s] 11-o’clock spot, “Back to Before”, however, is the production’s sole genuine showstopper.

Matthew Murray, broadwaystars.com

Other reviews

The Wizard Of Oz

Anna Lise Jensen is a Valentine Goddess as Glinda The Good Witch. 

Chris Blank, Memphis Commercial Appeal


Master Class

Anna Lise Jensen plays one of the students who does battle with Callas.  Jensen’s rivetingly beautiful voice has been too little heard in these precincts and this is one nice dazzle.  Listen at the end when she has to jump directly into a soaring finale after a long silence--it’s a true thrill. 

Jon Sparks, Memphis Commercial Appeal


Babes In Toyland

Anna Lise Jensen’s voice was especially lovely, but we didn’t get enough of it. 

Jon Sparks, Memphis Commercial Appeal


Love’s Labour’s Lost

She has a speaking voice like icing on a cake.  

Joyce Carol Oates


Don’t Dress For Dinner

Anna Lise Jensen’s lilting voice is deliciously dramatic, and she has a catchy way of tossing around her coppery hair to accentuate her points.  

Bob Curtright, Wichita Eagle


Jekyll And Hyde

Sadly this is Anna Lise Jensen’s last effort with Playhouse as a performance intern.  Herspectacular voice, which I could never get enough of, will be missed.  Hope we’ll see and hear her again. 

Jon Sparks, Memphis Commercial Appeal


The Robber Bridegroom

The onstage standout in this Southern-fried folk tale was Anna Lise Jensen as Salome, a fearsome combination of evil stepmother and termagant wife.  

Perry Tannenbaum, Charlotte Creative Loafing



Anna Lise Jensen excels as Margrethe Bohr... Her presence brings a human element.

Lynn Trenning, ArtSavant.com

Zoetic Stage

The leading trio, navigating Sondheim’s tricky rhythms and harmonies, makes Passion a triumph for Zoetic... Jensen, a soprano who looks endlessly gorgeous in Clara’s original Broadway costumes...conveys the not-so-simple complications of love.

Christine Dolan, Miami Herald


Jensen, a New York-based actress with considerable regional credits, is just as convincing even though her role is the least defined. Her lovely soprano excels at communicating both Clara’s joy in her relationship with Giorgio and her bewilderment when matters turn as they do. Both she and Richberg have voices like rich full-bodied wine.

Bill Hirschman, Florida Theatre On Stage


Nicholas Richburg is Giorgio, the officer, and the show opens with him, naked, and Clara, played by Anna Lise Jensen, also starkers, wrapped in post coital bliss. And a few sheets. They lie on a revolving bed...and as the bed turns they sing and kiss and kiss and sing and the singing is glorious. The kissing? I can only imagine.

Roger Martin, Miami Art Zine

ELF: the musical
Arkansas Repertory Theatre

The familial chemistry between Buddy’s stepmom (Anna Lise Jensen) and stepbrother (10-year-old Price Clark) was incredible and a true joy to watch, even when they offered up a few unexpected tearjerker moments. 

Jess Ardrey, Little Rock Soiree


Anna Lise Jensen is a delight as [Walter's] long-suffering wife whose struggle to find her own place mirror’s Buddy’s quest. 

Little Rock Culture Vulture



Promotional Interviews

Arkansas Democrat Gazette


Off The Record


Little Rock Family

Mill Mountain Theatre
Playhouse on the Square
New Stage Theatre

It would be difficult not to be moved as [Anna Lise] Jensen performs “Wild Bird”... [her performance] explodes with hope, much like the play itself.  

Rich Bullington, Memphis Lamplighter


A beautiful girl, when [Anna Lise Jensen] sang that haunting song, “When Hope Goes”, the look in her eyes and on her face just blew me away.  I thought an angel was singing to me.

Madelyn M. Stanford, Memphis Theatre Callboard


With the best musical voice in the house, who sparkles in the role of Shelby, [Jensen makes] simple acts, such as trying not to spill water from a glass, sublime recollections of real life.

Alan Stewarts, Jackson Sun

Gallery Players

The show’s best moments still come courtesy of Anna Lise Jensen, who manages to break through the confines of Tommy’s mother, a woman so busy trying to help her son that she has little time to mesmerize the audience by singing a frightening “Smash The Mirror” before freeing Tommy of his self-imposed inner exile. 

Mark Peikert, P-Press


Anna Lise Jensen terrifies the audience with her intense and out-lashing “Smash The Mirror”. 



[Jensen] displays insurmountable frustrationand guilt while attemtping to free her son form a catatonic state of consciousness.  

Matt Windman, AM New York