Current and forthcoming news!
I am currently living and working in
New York City, I have had a wonderful start to life here, having
completed runs in three fabulous shows: most recently i was seen as
GEORGIA in 'CURTAINS" at Houston's TUTS Theatre (www.tuts.com), followed by a very
successful run at New Jersey's PAPER MILL THEATRE www.papermill.org.
Reviews:
“Helen Anker is superb as Georgia Hendricks, lyricist of
Robbin’ Hood, who takes over the leading lady role when
Jessica Cranshaw is murdered.
Her love interest with songwriter Aaron Fox creates a very
interesting and intriguing subplot.
But perhaps my favorite moment is when Ms. Anker is rehearsing the
big campy saloon number, “Thataway!”, which is a
rip-roaring, rollicking, saloon blowout bonanza!
This is where she steals the show with her fabulous dance routine
and serious belt and we know that there is hope for Robbin’
Hood after all.”
‘Houston Chronicle’
“Helen Anker is excellent as his ex-wife Georgia Hendricks
who takes over the leading lady part in Robbin' Hood,”
‘Examiner.com’
“Another standout is Helen Anker as Georgia Hendricks,
“Robbin’ Hood’s” lyricist. Her rendition of
“Thinking of Him” turns it from just another pretty
song into a sincere statement of deep love.”
‘NJ.com’
“As lyricist Georgia Hendricks, called upon to substitute for
the late Jessica Cranshaw, Helen Anker is the whole package; she
can sing and dance very well! She's got a beautiful pair of legs,
too.”
‘M J arts Maven’
I started my new life a year ago, in
New York, making my Broadway debut playing the role of MISS OLSON
in the revival of 'PROMISES PROMISES' directed and
choreographed by the wonderful Rob Ashford
www.promisespromisesbroadway.com
Following that, I was lucky enough to play the three challenging
female roles in 'THE 39 STEPS' at Milwaukee's Rep Theatre
Review: 'The three women are
drastically different in their internal characters, but Anker moves
fluidly between them while bringing comic possibilities to the
surface. Her Annabella Schmidt reaches for the over-the-top
possibilities of the femme fatale, replete with thick accent and
melodramatic moves. As Pamela, she is no less comedic, but in a
settled way that helps anchor the zaniness as it progresses toward
the conclusion.'