Most recent:

About the MAC Awards:

"The other performer who got consistent raves, including mine, was Angela Shultz, winner of the Hanson Award.  Some had only seen her do serious songs and were delighted that she nailed the hilarious song “My Moment” (“The American Idol Song”), taking the stage with this number that spoofs the mannerisms and excesses and modulations so often seen on the TV talent contest."
Rob Lester, NiteLife Exchange
http://nitelifeexchange.com/review/cabaret-reviews-mainmenu-27/1184-looking-back-on-the-mac-awards-show.html

"Hanson Award winner Angela Shultz wowed with Hector Coris’ over-the-top "My American Idol Moment"-once again reminding all, side-splittingly, that good singing is not about dramatic riffs and key changes."
Kevin Scott Hall, Edge New York
http://www.edgenewyork.com/index.php?ch=entertainment&sc=music&sc3=performance&id=105443&pg=2

About Kiss Me Like You Mean It:

http://www.kdhx.org/index.php?option=com_content&task=view&id=11965&Itemid=272
Many of the graduates of Tim Schall’s St. Louis Cabaret Conference have gone straight from there to the Kranzberg Center with their solo shows. Angie Schultz – who was in the very first conference in 2006 – took the long way around: she went through New York. Her latest show, Kiss Me Like You Mean It, premiered at Don’t Tell Mama on West 46th Street last May. Now that Jim Dolan’s Presenters Dolan organization has finally brought her home to the Kranzberg all I can say is: it’s about time!

If Mr. Schall (one of the many local performers taking a busman’s holiday to attend the show Sunday night) is looking for a poster girl for the conference, he could hardly do better than Ms. Shultz. Kiss Me Like You Mean It is very nearly the ideal show, boasting a finely balanced program of mostly newer songs, wonderful custom-tailored arrangements from pianist/music director Brett Kristofferson (including some of his own material), and performances by both Ms. Shultz and Mr. Kristofferson that were pitch-perfect – both musically and theatrically. The ease with which she graced the space and the charming, self-effacing humor which she brought to both her patter and her singing were a winning combination.

Ms. Shultz’s ability to be entirely herself on the stage is not, by the way, something to be taken lightly. As performers, so many of us spend so much time being someone else that stripping away all of the other personae and simply being ourselves can be the most difficult act of all. Combine Ms. Shultz’s comfort with her own identity with her solid, beautifully controlled vocal instrument and you have a recipe for a great night of cabaret.

Even the evening’s title is perfect, suggesting a combination of assertion and seduction that is reflected in just over a dozen songs which run the emotional gamut from John Bucchino’s touching “Unexpressed” and Ben Folds’ lovely “The Luckiest” to Jill Sobule’s demented “Mexican Wrestler” (easily one of the strangest torch songs ever written) and the always-amusing “Compromise” by Zina Goldrich and Marcy Heisler. There are also two gems of love lost from Mr. Kristofferson – “Goodbye Love” and “Things that Haunt Me” – and director Hector Coris’ hilarious send-up of American Idolatry, “My Moment”. The fact that many of these songs were new to me was yet another bonus from my point of view.

Even the older numbers, such as Arlen and Harburg’s “I Don’t Think I’ll End it All Today” (from their 1959 musical Jamaica, where it was sung by Lena Horne), were hardly warhorses. I love the Great American Songbook as well as the next cabaret addict, but it’s nice to be reminded now and then that pages are still being added to it. Ms. Shultz, Mr. Kristofferson, and Mr. Coris are to be commended for their eclectic and smart song selection.

Ms. Shultz is undoubtedly on her way back to New York by now, where she’s booked for a return appearance at Don’t Tell Mama. Her star is (to paraphrase an old vaudeville lyric) on the ascendant.   Chuck Lavazzi, KDHX.org

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http://cabaretscenes.org/cabaret_reviews/2009/may09/shultz_angela_5-09.html
Instantly likeable, consistently focused, completely straightforward—that’s a bundle of energy and good spirits named Angela Shultz. Rather than a diva taking the stage, she feels like an old friend knocking on the door (who happens to have a knockout voice) to share favorite recipes that happen to be songs. Pretension and self-aggrandizement are anathema to her.  Her voice is big; her ego seems small. “Why Try to Change Me Now?” she muses, comfortably accepting her faults. The clean, strong, supported voice can be a powerhouse, but she can calibrate and pull back. Finishing songs, she appears overjoyed to have shared and connected. It’s about the show, not showing of. She may be singing “Unexpressed,” but she expresses herself crisply. Occasionally, one wants her to linger over a phrase or let that last impression fully sink in. I would like to hear more patter. She had a few cute comments such as a tongue-in-cheek reference to tabloid favorite Lindsay Lohan saying “I relate to her because I’m a redhead myself… most of the time.” In a neat symbiosis, her director is one whose act she directs: the equally “direct” and savvy Hector Coris. Musical director Brett Kristofferson, whose songs were the focus of her last show, is again at the keys to please, so skillfully.  Solid and recommended.  -----Rob Lester, Cabaret Scenes
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About Closer Than You Think---
"Wow! What a match-up: powerful singer Angela Shultz taking on a full program of Brett Kristofferson's strong, unblinking songs” “…a wild roller coaster ride.” “Driving accompaniment, floods of music and lyrics, a vocalist whose sound can be a wail, a fervent plea, a cry of pain, cathartic outpouring, or a balm-like lullaby...quite a tsunami of sound and fury. It's thrilling…” ----Rob Lester, Cabaret Scenes

"The plump diva-in-gestation has a sweet voice into which she introduces gleaming steel streamers whenever the spirit moves her. She's confident enough on stage that she's able to sing with few physical frills… “Shultz has good taste in music, which for this show runs almost exclusively to songs with music and lyrics by Brett Kristofferson. She's programmed them nicely in terms of variety. She scores especially with one called "Joey Runs," about a rootless fellow.... For contrast, Shultz proves she can be offhandedly funny in "The Gospel According to Me".
-----David Finkle, Backstage

"Ranging from quietly intense through ebullient, with sweet and touching along the way...." Roy Sander, critic and columnist
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About Life is Wonderful, directed by Angela Shultz--
"WOW, WHAT A SHOW! Thoughtful, thought-provoking, at times humorous, at times poignant, the show was filled with excellent material, and Hector's delivery was spot-on.   I loved the song selection; much of the material was by contemporary composers including Christine Lavin, Ben Folds, Zoe Lewis, William Finn, and Brett Kristofferson and while the songs varied in content and tone, they all shared one thing: fantastic lyrics, which Hector did a fabulous job of sinking his teeth into.  Major kudos, too, to Hector's director, Angela Shultz, and musical director Ray Bailey." - Jenna Esposito, The Cabaret Chronicles

For Sound Clips, visit:
myspace.com/angelashultz