the Unhoneymooners
by Christina Lauren
Using a wry, minimally inflected tone, narrator Cynthia Farrell ensures that listeners enjoy the tongue-in-cheek humor in this romance. Amy Torres, veteran contest winner, and Dane Thomas get married, using all her prizes. But it’s a disastrous wedding–everyone except Amy’s sister, Olive, and Dane’s brother, Ethan, gets violently sick. And Olive and Ethan don’t like each other, so going on their siblings’ honeymoon proves to be a challenge. Farrell’s matter-of-fact delivery of narrative contrasts with her dialogue–she fully captures Olive’s sharp, snappy tone and Ethan’s laid-back yet snarky comebacks. Farrell emotes throughout the oil-and-water relationship, adding humor and joy to the second half of the story. Deacon Lee narrates the epilogue in a deep, velvety voice to wrap up this rom-com.
M.B.K. © AudioFile 2019, Portland, Maine [Published: JULY 2019] source
This is how you lose the time war
by Amal El-Mohtar, Max Gladstone
Emily Woo Zeller and Cynthia Farrell’s dual narrations emphasize the divergent personalities of two time-traveling protagonists. Coolly portrayed by Farrell, Red sneers as she sees Blue, her foe, across a burning field. Red realizes that her attempt to alter the future was foiled by Blue, an agent of the opposition in an ongoing war that moves through time. Then, Red receives a letter from Blue–read in a taunting tone by Zeller–and the agents begin a cryptic correspondence as they sabotage each other’s missions. The two narrators deliver the rich and lyrical letters with increasing passion as each agent falls in love with her enemy. We hear their pain as they must choose between betraying each other–or their agencies. Listen, then listen again to unravel this intricate story, beautifully narrated.
E.E.C. © AudioFile 2019, Portland, Maine [Published: JULY 2019] Source
The Mueller Report
by The Washington Post
Listening to this comprehensive report is a riveting and fascinating experience, and is made even more interesting by the talented narrators who present it. What’s more, the report is mostly written in a literate, conversational style that allows them to deliver it as a book as opposed to a dry government account. Alternating sections of the report, the narrators have individual strengths–from Gibson Frazier’s clear, accessible voice to Jayme Mattler’s urgent, spirited approach and Prentice Onayemi’s deep pitch and expressive tone. They all uncover the nuances of the report, are able to emphasize key ideas, and pause effectively to allow listeners to digest the information.
R.I.G. © AudioFile 2019, Portland, Maine [Published: JUNE 2019] Source
The Cuban Comedy
by Pablo Medina
Narrator Cynthia Farrell becomes young Elena of Piedra Negra, Cuba. The aspiring poet from the country dreams of something other than making the firewater that is her family’s business. Farrell captures the dreamy possibilities of the postrevolutionary period, which is contrasted with the ugly reality of everyone spying on their neighbors. Farrell deftly handles the occasional Spanish words peppered throughout the story, giving the listening experience a musical quality. Fans of world literature will sink into this listening experience as Elena transforms from a country girl to a poet in the city.
M.R. © AudioFile 2019, Portland, Maine [Published: JULY 2019] Source
Such a Perfect Wife
by Kate White
Listening to this comprehensive report is a riveting and fascinating experience, and is made even more interesting by the talented narrators who present it. What’s more, the report is mostly written in a literate, conversational style that allows them to deliver it as a book as opposed to a dry government account. Alternating sections of the report, the narrators have individual strengths–from Gibson Frazier’s clear, accessible voice to Jayme Mattler’s urgent, spirited approach and Prentice Onayemi’s deep pitch and expressive tone. They all uncover the nuances of the report, are able to emphasize key ideas, and pause effectively to allow listeners to digest the information.
R.I.G. © AudioFile 2019, Portland, Maine [Published: JUNE 2019] Source
Nanaville
by Anna Quindlen
Narrator Cynthia Farrell makes this charming look at grandparenting a treat for everyone, especially new grandparents (and parents) everywhere. Channeled by Farrell, former NEW YORK TIMES columnist and Pulitzer Prize-winning novelist Anna Quindlen plops listeners unceremoniously and often hilariously into her earliest days in grandma mode. From the moment she looks into her first grandson’s eyes, she knows that, should it ever become necessary, she will fight dragons for him. She investigates her perfectly normal yet painful feelings of being displaced, no longer a leading character but a supporting player in her children’s lives. She reminds us that “Nana judgment must be employed judiciously, and exercised carefully.” Farrell delivers Quindlen’s gentle wisdom and worldly wit to perfection, proving herself an expert tour guide through NANAVILLE.
S.J.H. © AudioFile 2019, Portland, Maine [Published: JUNE 2019] Source
THE DIME
by Kathleen Kent
D.R.W. © AudioFile 2017, Portland, Maine [Published: MAY 2017] Source
Weight of Feathers
by Anna Marie Mclemore
J.M. © AudioFile 2016, Portland, Maine [Published: APRIL 2016] Source
What Motivates Getting Things Done
by Mary Lamia
Yesterday I discovered that my book, What Motivates Getting Things Done: Procrastination, Emotion, and Success, is on Audible. I was quite apprehensive as I downloaded the audiobook. Although I am a psychologist and professor, I also hosted a talk show on Radio Disney stations for nine years and there I became familiar with the world of voice acting. Adding to my trepidation during the download was a recent disappointing experience with my publisher who inadvertently ran out of books 3 weeks following the release, with none available until mid-September (Amazon had to cancel pending orders). Clearly, I needed some activation of joy that seemed to be as unavailable as my book.
Cynthia Farrell’s voice not only brought my book to life, but gave me profound pleasure. Her narration was exceptional and her prosodic excellence is unmatched. As someone who has researched emotions and understands how they are conveyed in vocal rhythms and tones, I have firm conviction that Cynthia Farrell will garner the interest and attention of those who listen to the book. As an example, I later handed the headset to my husband, simply asking him to listen “for a minute” to the narration. He ended up in an easy chair with a smile on his face, asking for more time when I wanted it back. Clearly, Cynthia Farrell’s cadence and intonation are mesmerizing. Moreover, in the book are two brief sentences in Italian. Since my parents spoke to each other in Italian throughout my childhood, the narration of those words was important to me; specifically, the flow and pattern of sounds. I skipped to those sentences in the last chapter and again listened with a critical ear. I felt at home. Yet in listening to that chapter I also noticed an important subtlety: Through her voice Cynthia Farrell captured how the last chapter of the book is significantly more personal than the rest.
Thus, I want to express my wholehearted appreciation to Audible for choosing Cynthia Farrell as the narrator for my book. If I eventually find the energy to write a sixth book, I would love to have Cynthia Farrell be my voice.
Sincerely,
Mary Lamia
Mary C. Lamia, Ph.D.
http://www.marylamia.com
http://www.whatmotivatesgettingthingsdone.com
Shoot like a Girl
by Mary Jennings Hegar
Refusing to give up in the face of military sexism, MJ—author Mary Jennings Hegar—becomes an Air National Guard helicopter pilot, serving three tours in Afghanistan and receiving a Purple Heart for heroism. Despite her accomplishments, however, she continues to encounter gender prejudice when she returns to the U.S. Narrator Cynthia Farrell’s almost masculine timbre captures Hegar’s innate toughness without losing sight of her pride in being a woman. Slight changes in accent and inflection serve to differentiate the many male characters, sympathetic and otherwise, who surround the young pilot. Farrell lends immediacy and humanity to an inspiring wartime memoir.
C.M.A. © AudioFile 2017, Portland, Maine [Published: SEPTEMBER 2017] Source
Cabaret
For Real 2.0
by Joel Benjamin | April 14, 2014
Stephen Schwartz’s “Chanson” evoked her contentment in everyday pleasures while “100 Years” (Five for Fighting) went even further in its suggestion of life’s wonders at every age. Both songs were sung in a soft but deep voice, savoring every emotion. She used her tenderly rendered “Loving You” (Sondheim) and “I Have a Love” (Bernstein/Sondheim) to express her almost blind dedication to her soon to be ex, the latter sounding more weary than passionate. She visited her Latino side in Roman Rojas’ “Oscuridad” and mentioned some very poor advice her mother gave her which brought Ms. Farrell’s marriage only closer to dissolution.
Her “Both Sides Now” (Joni Mitchell) was slow and, for once, had deep personal resonance while her interpretation of Sondheim’s “Move On,” though superficially upbeat, was acted with just a touch of desperation. Michel Legrand’s “Piece of Sky,” the title character in Streisand’s Yentl’s anthem, was stripped of overwrought emotions with which it’s usually performed and given a small-scale intensity that registered like a lasar beam in the confines of this small cabaret room.
Her yearnings came through loud and clear in Sondheim’s “Being Alive.” But, it was a sweet, lovely “Blackbird” (Paul McCartney) that ended the program on a quiet note.
The arrangements by her music director/accompanist Fran Minarik were sophisticated, often creating exciting tension between the vocal and piano lines. His versions of these well-known songs were always fresh.
For Real
by Stephen Sorokoff "A Voice to be Heard"
Source: Times Square Chronicles | Article no longer available
A Piece on Cynthia Farrell
by Mark Dundas Wood | June 29, 2013
The highlight of the set is a moving, flawlessly executed medley of Stephen Sondheim’s “Loving You” and Leonard Bernstein and Sondheim’s “I Have a Love.” Every note of the medley is full-bodied, assured, and lovely. Together, the pair of songs becomes a confession of romantic obsession and a coming to terms with that obsession. Farrell smiles at moments at the hopelessness of her overpowering devotion, but it’s a wise smile—and therefore a slightly sad one.
Farrell’s program has an autobiographical slant. She and writer-director James Horvath have created a story arc about finding love, starting a family, having it all fall apart, and then rebounding through a program of self-reflection and inner-strength building. It’s a familiar tack, of course, to build an act around one’s personal journey. It’s not what I would have recommended for a debut show, but for the most part, Farrell makes it work—although the narrative thread gets lost during parts of the program. The most interesting use of a song in service of her personal tale is the repurposing of Harold Arlen and E.Y. Harburg’s “Ding-Dong! The Witch Is Dead” as a celebration of the exorcism of the witch-like part of her personality that emerged following the collapse of her marriage This song is the lightest fare of the evening—and the jazz-inflected arrangement gives Farrell a chance to do some sprightly scat singing. On the night I saw her, “Ding-Dong!” was a crowd pleaser.
Not all of the selections are as effective. I believe this is due in part to some of the arrangements by musical director and pianist Fran Minarik, which tend to be heavy on dissonance and a kind of edgy, experimental quality that sometimes proves distracting. For instance, the opening number, Bernstein and Sondheim’s “Something’s Coming,” is outfitted with a kind of avant-garde boogie-woogie underpinning that doesn’t serve the singer at all. Here I felt Farrell was swimming upstream against the current of Minarik’s playing.
But—like the Sondheim/Bernstein medley—other selections, such as the trembling-with-emotion “100 Years” (John Ondrasik), are delivered in a graceful, resonant voice. Farrell gets to show off her talent for belting on two forceful numbers that close the program: Sondheim’s “Being Alive” and Michel Legrand and Marilyn and Alan Bergman’s “A Piece of Sky.” I would have advised her to pick one of these and discard the other in favor of something less bombastic. She does return to a quieter mode for her encore, Lennon and McCartney’s “Blackbird.” There are some moments of phrasing in that number that suggest that Farrell would do well to add some blues-oriented selections in future shows. I’d also like to hear what she can do with something in a swinging, lilting key—perhaps some up-tempo Gershwin or Berlin. As with her inclusion of “Ding-Dong! The Witch Is Dead,” such additions might offset the dramatic selections, thereby making them seem even stronger and more poignant.