UnDERSTUDIED Cinderella (Into the woods) at the Arden theatre

Performed the role of Cinderella in all previews and on Opening Night, June 8th, 2022. See backstage photos + read reviews below!

Press for Cinderella (Into the Woods)

It’s hard to believe that DeBlasio, with a real clarion soprano and a distinctive, memorable timbre, isn’t playing Cinderella full time. I can’t imagine anyone better.
— Cameron Kelsall, Broad Street Review
And in the most touching surprise of the evening, Anna DeBlasio—an understudy who subbed in for Cinderella—was simply wonderful vocally and dramatically, giving as polished and winning a performance in this major role as I’ve ever seen.
— David Fox, Parterre Box
On opening night, understudy Anna DeBlasio stepped in as Cinderella with a perfect balance of grit and charisma. I am glad I got to see her in the role.
— Rebecca Rendell, Talkin' Broadway
 
 

PAST FAVORITES INCLUDE:

  • Guenevere in Camelot (twice!)

  • Woman in Talk to Me Like the Rain and Let Me Listen (Hangar Theatre)

  • The title role in The Little Prince (Hangar Theatre)


 
 
 

recent press


 
 

Hodel (Fiddler on the Roof)

Most outstanding in a talented cast is Anna DeBlasio as smart, independent Hodel...DeBlasio possesses the best voice in the cast, and provides a most memorable moment in her poignant ‘Far From the Home I Love.
— The Baltimore Sun (Mary Johnson)
Anna DeBlasio plays Hodel with great love as well. She and Joe Mucciolo, who plays Perchik, have wonderful chemistry.
— DC Metro Theatre Arts (Charles Green)

Vanda (Venus in Fur)

(DeBlasio was) believable in her transition from sycophant to virtual director of the final scenes. {...} even her posture seems to shift imperceptibly, as Vanda/Vanda slides from one century to the next, sometimes mid-sentence.
— DC Theatre Scene (Jill Kyle-Keith)
She reveals hidden depths to what originally seems a flighty character.
— DC Metro Theatre Arts (Charles Green)
 
 

Guenevere (Camelot, Broadway Theatre of Pitman)

DeBlasio’s glowing soprano ranges from earnest and whimsical (in her early numbers) to bouts of lovesick pathos in her rendition of ‘I Loved You Once in Silence.’
— The Philadelphia Inquirer (Jim Rutter)
 
 

Guenevere (Camelot, Compass Rose Theater)

DeBlasio’s Guenevere is smart, strong, independent and passionately devoted to Arthur and his ideals.
— The Baltimore Sun
DeBlasio’s Guenevere is an honest and forthcoming character and DeBlasio is a triple-threat with her singing, acting, and dancing abilities.
— DC Metro Theater Arts

The Girl (The Roar of the Greasepaint --
The Smell of the Crowd)

DeBlasio’s vocals were the highlight of the show for me.
— Danielle Angeline (DC Metro Theatre Arts)
From the outset she is a standout when she joins the urchins in an earlier dance sequence, and later reveals her skilled acting as she transitions from shy girl to strong woman, embracing the battle with dominant males.
— Mary Johnson, The Baltimore Sun
Her voice was sweet and tender, while also powerful and purposeful.
— Maryland Theatre Guide