" A N A C T O R H A S T O B U R N I N S I D E W I T H A N O U T E R E A S E "
M I C H A E L C H E K H O V
"A N A C T O R H A S T O B U R N I N S I D E
W I T H A N O U T E R E A S E"
M I C H A E L C H E K H O V
"Boogaart is astonishing"...The Australian
"She was the essence of irresistible woman....she was drenched in the role”...Opera
"Boogaart is a master of playing larger than life characters without pulling focus at crucial times.” Stage Whispers
"Her sonorous voice dips and soars with the music and her movements seduce everyone"...The Australian
“Boogaart is a rare performer who has both incredible looks and a rich voice. Her voice boasts of a great range and vocal control, and she can dance. She is incredibly versatile.” Australian Stage
"There’s an emptiness about her that is utterly compelling and she moves like an alley cat." Limelight Magazine
“Cherie Boogaart steals every scene (in the nicest way)" Stage Whispers
"Not only does she vary her beautiful and remarkably flexible voice to suit the individual style and emotional direction of each song, but her facial expressions, body language and projected persona change too. She becomes a host of different women in many different situations. Every song was a performance in itself in this superb display of the meaning of ‘a thorough interpretation’. It was a master class for singers." Glam Adelaide
"From raw and earthy to operatic and soaring, Boogaart’s vocal armoury is prodigious. As its chief weapon, a tremulous emotional quality was used to portray a situation of desperation and pathos.” Arts Hub
"Boogaart brings a warm and sensitive reading to the role.” Broadway World
"Thrillingly meeting extraordinary singing, dancing, and dramatic demands"....The Australian
"her portrayal of the vulnerable young soldier was excellent.” Opera Britannia
"She brought her character to life, showing a genuine care for Marguerite, and with left-legged limp to suggest why Siébel had stayed home from battle. Her beautiful “Faites-lui mes aveux” as Siébel made do with a few handy flowers (forget-me-nots?) growing out of cracks on the steps was a show stopper of inspirational excellence.” Bachtrack
"Boogaart was threatening to eat the furniture in an interpretation of Marcellina that you will never be able to unsee – classic!” GlamAdelaide
Boogaart is a versatile performer with notable experience in opera, musical theatre, and cabaret.
Credits include Sweeney Todd and Maria in Maria de Buenos Aires for Victorian Opera, South Pacific and The Mikado for the Adelaide Festival Theatre, He and She don't go together for the Perth Cabaret Festival, Guys and Dolls with the Adelaide Symphony Orchestra, Cindy in The Beauty Spot and Songs to make you feel sexy for The Adelaide Cabaret Festival, and Elegies and I love you, you're perfect, now change for Singular Productions. For Co-Opera, she has performed the roles of Third Lady in The Magic Flute, Dorabella in Cosi fan Tutte, and Orlofsky in Die Fledermaus.
For State Opera SA, Boogaart has appeared as Siebel (Faust), Nefertiti (Akhnaten), Kasturbai (Satyagraha), various roles in Love Burns, Giovanna (Rigoletto), Wowkle (Girl of the Golden West), Phil (The Station), Sandman (Hansel and Gretel), the Messenger (Underneath), Maria in Maria de Buenos Aires, Mrs Judd and Mrs Bonner (Voss), Flora (La Traviata), Edith (Pirates of Penzance), Lady Sangazure (The Sorcerer), Marcellina (The Marriage of Figaro), Sandra (Flight), and most recently performed the roles of Cinderella's Stepmother/Granny/Voice of the Giant in Into the Woods.
Boogaart completed a Bachelor of Music at The Elder Conservatorium of Music. She has studied under many notable voice teachers including Patricia Price, Heather Brooks-Fletcher, Liane Keegan, Anna Connolly, and Donna Balson. She has attended the Neil Semer Summer School, and studied voice with Sally Burgess and Janice Chapman in London. More recently Boogaart completed studies at Arthaus Berlin in acting, devising theatre, clowning, and physical theatre.