Timeline | West End Performances | Regional and Pantomime
West End Performances
Fiorello!
London West End 1962 - Role: Mitzi Travers
"Pat Michael, who is by far the best thing in the "typically Twenties" scenes. Miss Michael looks, acts and seems to breathe the period and wears her costumes delightfully. She also gives an impression of belonging to New York."
–R.B. Marriott, The Stage, October 1962
How To Succeed In Business Without Really Trying
London West End 1963 - Role: Rosemary
"I'm glad that Patricia Michael, for whom I forecast stardom when she was a chorine in Little Mary Sunshine last May, has made it so soon."
–Jack Lewis, Reynolds News, March 1963
"(Rosemary) was a role that gloriously exploited the effectiveness of Michael's sometimes knife-edged voice, and - unusually for an English musical actress - she effortlessly negotiated it."
–Adrian Wright, Theatre Historian
Divorce Me, Darling!
London West End 1965 - Role: Polly
"Patricia Michael is at the top of the extremely good category with a brilliant portrayal of Polly in her thirties."
–R.B. Marriott, The Stage, October 1962
"Michael was an ideal 'older' Polly, glorious in looks and voice."
–Adrian Wright, Theatre Historian
The Desert Song
London West End 1967 - Role: Margot BonValet
"Mr. Hanson's leading lady is Patricia Michael, as stunning an English rose as ever bloomed in a stage garden."
–Elwyn Jones, What's On In London, May 1967
"Margot is Patricia Michael and she is so absolutely right for a 1920 heroine that I cannot divine if her exaggerated gestures were romantic parody or not. There is nothing on our modern stage, believe me, to match the moment when, after half-heartedly resisting her desert lover, she leans back in rapture against his manly bosom."
–Felix Barker, The Evening News, May 1967
"Miss Michael catches a period note and atmosphere, creates an illusion of reality and holds the stage in all her scenes."
–R.B. Marriott, The Stage, October 1967
"Patricia Michael, looking like a genuine hit of the twenties, plays madcap Margot, the convent-educated girl who yearns to be carried off across the saddle of a desert sheik."
–David Nathan, Daily Herald, May 1967
"…the obsolete conventions of romantic operetta exercise an occasional charm, especially in the beautifully studied solemnity of Patricia Michael as the heroine."
–Eric Shorter, The Daily Telegraph, May 1967
"Patricia Michael, who plays the heroine, Margot Bonvalet, does so with a delightful flavor of the '20s, looking as if she'd stepped straight out of Peg's Paper: her voice is good, strong and under superb control."
–Bert Baker
"Patricia Michael as the merry madcap Margot Bonvalet, is a perfect 1920's girl whether dressed up in soldier's uniform as a jape or slashing out with her riding crop trying to protect the honour which deep down she is dying to lose."
–Ian Christine, Daily Express, May 1967
Gone With The Wind
London West End 1972 - Role: Melanie Hamilton
"Patricia Michael is radiantly pretty and in soaring voice as Melanie"
–Herbert Kretzmer, Daily Express, 1972
"Patricia Michael, whose stately, beautiful Melanie almost made one forget Olivia de Havilland"
–Felix Barker, Evening News, 1972
"…there is Patricia Michael rescuing Melanie from being a pain in the crinoline"
–Jack Tinker, Daily Mail, 1972
"Michael outstandingly contributed to the duet 'We Belong to You'. There was a constant serenity about her singing that made her ideal for the role."
–Adrian Wright, Theatre Historian
Irene
London West End 1977 - Role: Irene
"Patricia Michael is quite wonderful in 'Irene'"
–Harold Fielding, Impressario
The Mitford Girls
London West End 1981 - Role: Diana
"The splendid grandeur with which Michael sang 'I'll Fall in Love' must surely have impressed the real Mitfords."
–Adrian Wright, Theatre Historian
"Colette Gleeson and Patricia Michael bring charm and grace to all they do."
–Michael Coveney, The Financial Times
Peg
London West End 1984 - Role: Ethel
"Only Patricia Michael manages to make the daughter partially real"
–Brian Masters, The Standard, 1984
"Patricia Michael's style and vivacity deserve better. First The Mitford Girls, now this. She needs a break."
–Martin Hoyle, Financial Times, 1984
