She travels her own path.

Like only of a few of the most uncompromising artists, she takes substantial risks everyday, working deeply and at times microscopically. Sometimes, when she comes up for air, she brings the most magical and unusual artifacts back from her journeys.  (Theodora Skipitares, Sky Saver Productions, visual artist and  theatre director) 

Leeny Sack is one of America’s outstanding practitioners of personal theater.  (Pooh Kaye, artistic director, Eccentric Motions, Inc., choreographer, animator and film-maker)

She was born in Brooklyn and reared in Queens. Her parents met in Dachau; her father was an oil engineer, her mother searching for a brother apparently killed during the war. While the Holocaust is obviously part of her heritage, Sack has theatre in the blood too. She studied at Julliard for two years before joining The Performance Group and appeared in Richard Schechner's productions of The Tooth of Crime, Mother Courage and Oedipus as well as the original production of Spalding Gray and Elizabeth LeCompte's Sakonnet Point. (Don Shewey, Soho News) Her work, in no small way, was responsible for the success - artistically and with the public, of The Performance Group’s productions. (Richard Schechner, theater director, performance theorist, professor of Performance Studies, NYU; Editor, TDR: The Journal of Performance Studies)  In her desire to understand “root” experiences, she finds that even the “unspeakable” can be dealt with.  (Susan Bergholz, former executive editor, Parabola Magazine: Myth and the Quest for Meaning)

As an actress, Leeny Sack communicates the unspeakable. (Melinda Jo Guttman, Soho News)  Leeny Sack is a splendid actress, a performer to the twitching ends of her toes and fingertips, to the sudden gearshifts of temperament and voice that only inborn talent and constant honing can bring to perfection.  (Richard F. Shepard, The New York Times)  She is one of the most interesting and important artists that has evolved and defined the terms and boundaries of performance art from the 1970s to the present. She has had the recognition and respect of her peers inside some of the most interesting teams and collaborations of performers.  (Diane Lewis, Professor, Architect FAAR 1976, The Irwin S. Chanin School of Architecture of The Cooper Union for the Advancement of Science and Art)  The visual and physical experience of her work is truly remarkable, comparable to the work of other exemplary figures of her time. (Pedro Alejandro, choreographer/videographer, Artistic Director P.A.D.D., former chair of Wesleyan University) She has the strong face and rich voice of a classical actress, a Clytemnestra or Lady Macbeth, yet she uses her power to be intimate, simple, startlingly open. This power is particularly Jewish and particularly female.  (Don Shewey, Soho News)

The experiments with form and meaning as embodied in her exquisite and disruptive projects are important in the forum of contemporary performance. (Diane Lewis, Professor, Architect FAAR 1976, The Irwin S. Chanin School of Architecture of The Cooper Union for the Advancement of Science and Art)  Thematically, Sack’s work deals with a wide-range of subjects that intersect personal, psychological, sexual, and cultural landscapes.  (Pedro Alejandro, choreographer/videographer, Artistic Director P.A.D.D., former chair of Wesleyan University)

Her combination of kindness and ferocity is unmatched.   My work with Leeny cracked open a hole in my consciousness. (Karl Gregory, Actor, Fault Line Theatre) Besides that, she’s a hoot. (Linda Ruth, astrological counselor, Heaven & Earth)