Jessica Vosk is a celebrated singer and actress known for electrifying roles on musical theater and concert stages. She made her Carnegie Hall debut in November 2021 in a sold-out solo show titled My Golden Age and a triumphant return to Carnegie Hall in 2022 to headline Get Happy: A Judy Garland Centennial Celebration.  Other recent highlights include debuts at London’s Cadogan Hall, and at Symphony Hall with Celebrity Series of Boston and Washington Performing Arts as part of a 20-city solo concert tour. In summer 2023, she debuted a new show on the Lyrics & Lyricists series at the 92^nd Street Y entitled California Dreamin’ featuring the music of singer-songwriters of Laurel Canyon as well as starred as Florence Vassy in a stunning new production of Chess at The Muny in St. Louis.

Best known for her star turn as Elphaba in the musical Wicked—first on tour and then joining the show’s 15th anniversary on Broadway—Vosk played the green witch for two years and was featured performing “Defying Gravity” in the PBS Great Performances 50th Anniversary Concert. Vosk starred as the narrator in Lincoln Center’s 50th anniversary performance of Joseph and the Amazing Technicolor Dreamcoat, reprising the role in 2022 at The Muny in St. Louis. Other recent theatrical highlights include joining the Atlantic Theater Company as Beth Ann in its production of Sarah Silverman’s The Bedwetter; creating the role of Aunt Val in the world premiere of Becoming Nancy at Alliance Theatre in Atlanta, directed and choreographed by Jerry Mitchell; and becoming the first singer to star onstage with the New York City Ballet in Something to Dance About, the company’s tribute to Jerome Robbins directed by Warren Carlyle. Vosk’s other Broadway credits include Fruma Sarah in the most recent revival of Fiddler on the Roof, Finding Neverland, and The Bridges of Madison County.

She starred as Anita in San Francisco Symphony’s Grammy-nominated production of West Side Story and filmed “The Leonard Bernstein Centennial Celebration at Tanglewood” with Michael Tilson Thomas for PBS’s Great Performances. Her independently produced solo albums Wild and Free (2018) and A Very Coco Christmas (2020) both debuted on the Billboard and iTunes charts, and are available to stream on all platforms. Vosk had an unconventional journey to Broadway, beginning her career on Wall Street before taking the leap of faith to pursue her dreams on stage. Her one-of-a-kind story has been profiled on ABC’s 20/20 and NBC Nightly News.

www.jessicavosk.com

Socials: @jessicavosk

 

 "A powerhouse singer (considered by some to be the finest Elphaba that Wicked ever had), Vosk possesses the kind of extraordinary vocal control and flexibility that allowed her to do full justice to songs by Joni Mitchell, Linda Ronstadt, Bonnie Raitt, Carole King, Stevie Nicks and Cass Elliott—a feat I doubt any other current singer could accomplish this well...Moreover, while Vosk never truly imitates these icons, she easily captures their essence." 

THEATER PIZZAZZ

 

"As a host, Ms. Vosk was both lighthearted, full of clever quips, and reverent...The encore was “Smile” — first Ms. Vosk, then Garland in vintage 1964 footage, and then the two of them together, with Ms. Vosk singing in harmony. It was quite a “Smile,” and, needless to say, we already were." 

New York Sun 

 

“It was coming up on Judy’s 100th birthday and made me think, Wow. We lost this woman so early in her life, and yet she’s been ever present since then. Like she never left us,” says Vosk of Garland who passed away eight years after her Carnegie Hall concert when she was 47. "How do I honor the memory of this icon, who famously played Carnegie hall before her death, yet hopefully breathe new life into her cannon of music? I love a tricky task like that.” 

Forbes 

 

"Audiences shouldn’t come expecting an impersonation. “It’s not that kind of campy thing,” she says. “It’s the beautiful story of this powerhouse performer and businesswoman,” with nods to Garland’s singular style. “I’m using a corded microphone like she did. That was a Judy staple. Also, she was very well-known for her vowels and her vocal placement. So I’m trying to bring some of that into the piece. Truth be told, her songs are difficult. But they’re also badass to do live. Judy had this thing where she made everybody in the audience feel like she had them in her living room. That’s what I’m trying to do with this particular performance—give the impression of being at a Judy Garland show without taking anything away from the boss on screen behind me.”" 

Playbill