"In a public ‘career' that spanned from 1912 to 1944, Florence Foster Jenkins (played beautifully by Constance Hauman) was notorious in her day for performing annual concerts to great acclaim and equal derision. ... This play is incredibly funny and shines a light on an obscure and unusual performer."

"Like Mike Jespersen's elegant music room set, Gregg W. Brevoort's production is smart and unfussy, hitting most of its comic marks. Chin high and vowels rich, the charming Hauman offers plenty of dowager yucks."

"'Singing' all these songs and arias-and more-is renowned soprano Hauman, whose background almost exclusively in the field of opera does not hint at the comedic gifts she reveals in Souvenir. Sublimely convinced of talents she does not possess, Hauman's Florence never crosses over into caricature, and her facial reactions are a joy to behold. Mrs. Jenkins's caterwauling could easily become (pardon the expression) "one-note" in lesser hands, but Hauman keeps coming up with new twists and turns in Flo's vocalizing that keep her performance ever fresh and surprising. The Florence Foster Jenkins she creates is so totally lovable that it's easy to see why her friends, fans, and Cosmé adored her."

"Then of course there's Constance Hauman, an accomplished opera singer in her own right and seasoned actor to boot. Only a skilled vocalist could be terrible on command, and Hauman is about as good as bad can be. Of course she ultimately proves to have the pipes to belt out a number as difficult as ‘Ave Maria.'"

"The ... audience ... was treated to one of the most original chamber concerts in recent memory. Highlighting the transitional music of these Jewish composers whose works were banned by the Nazis and largely forgotten, Miss Hauman's thought-provoking program was a brave attempt to restore a portion of this largely lost 20th-century repertoire.... Miss Hauman proves an incomparable interpreter of these difficult, challenging songs. Catching every nuance with nearly perfectly crafted phrasing, she channeled the composers, the music and the period directly to the audience with uncanny precision. From Berg's troubled musings to the toxic sexuality of Schoenberg's cabaret songs, Miss Hauman successfully resurrected the brooding end of a civilization largely invisible to us for nearly a century." [Recital of post-romantic German art song - Austrian Cultural Forum at the Austrian Embassy]

"If the production was acclaimed on opening night, it was largely because of a young American soprano, Constance Hauman, who was singing the role of Lulu for the first time. Not only did critics praise her handlng of the immensely taxing score, but also she injected deep poignancy into her portrayal of Lulu's fall from cruel splendor to humiliation and death." [LULU - Gronnengårds Teatret, Copenhagen]

"And then there was Constance Hauman. This woman is going to be a star - a flat prediction. She was wonderful as Ariel in Lee Hoiby's 'Tempest' last summer in Iowa, and she was even more wonderful as Zerbinetta in this fiendishly difficult version, with a sweet little coloratura soprano, ample agility and loads of personality. Ms. Hauman's heroics justified a visit to this fascinating revival all by themselves." [ARIADNE AUF NAXOS - Long Beach Opera]