Nytheatre.com:
2011 People of the Year - "Nat Cassidy is an actor, director, and playwright of surprising range and depth."
KYLE
By Hollis James
Hot Tramp Productions
March 2017
"Where Kyle succeeds the most is the physical comedy and witty dialogue, as Cassidy and James play off of each other well, under the direction of Emily Owens. ... As Jack attempts to battle his addiction the two have a slapstick fight (choreographed by John Gardner) that mixes laugh-out-loud humor with the internal fight Jack is undertaking. ... Kyle is an immensely relatable comedy that allows us to laugh at the self-destructive spirals so many of us slip into at some point in our lives."
- Adrienne Urbanski, Theatre is Easy (Best Bet)
"The increasingly unkempt Nat Cassidy is outstanding not just at communicating the complexities of Jack's highs and lows but also at keeping Jack someone whom the audience is pulling for during that journey. Cassidy and Alexandro also succeed in establishing an appealing bond between Jack and Crystal early on, so that the audience feels Alexandro's absence from the stage in the same way that Jack feels her absence from his life. ... An addiction comedy might itself sound paradoxical, but Kyle walks the line between laughter and darkness with entertaining aplomb."
- Leah Richards, Culture Catch
"Playing Jack, Nat Cassidy is given the heavy lift of a lightweight character. As Harvey Danger (no relation to the rabbit) once sagely advised us, “a tragedy requires a little greatness to begin with,” and Jack gives us little reason to mourn his best self before his fall begins. This of course serves as a smart B-side to the resolute absence of sympathy seen in the way Kyle is portrayed; the excuses we see both halves of Jack’s psyche make for himself are elaborate and absurd (and, to anyone who’s dealt with an addict or been one, note-perfect), but the playwright himself is making none. If you’re looking for gravitas from Jack, welcome to the club, but be careful what you ask for; Cassidy does a good job as a personality who projects superficial goodwill to avoid looking inward, and the depth Cassidy is capable of breaks through at Jack’s moments of worry or fright, and especially as he’s monologuing to a therapist; the point at which he’s most by himself is the one time his life is not an act, with no one to perform for, or hide from."
- Adam McGovern, HiLoBrow
"Hollis James and Nat Cassidy excel at playing the same person in unison of detailed gestures and matched energy. ... Kyle delivers the truths of a serious problem through a comedic lens without dehumanizing or vilifying a person with a cocaine addiction."
- Virginia Jimenez, Times Square Chronicles
"[Cassidy's] performance of this young man is stellar and his audience stays by his side. He is angry. He is confused. He is disappointed in himself. He is loved."
- Kristin Hardwick, Hi! Drama
"Taking on Jack, Nat Cassidy and his wide eyes went on a difficult journey. Battling his inner demons, Cassidy found the comedy of the dark battle between addiction and depression without making light of the situation."
- Michael Block, Theater in the Now
Hot Tramp Productions
March 2017
"Where Kyle succeeds the most is the physical comedy and witty dialogue, as Cassidy and James play off of each other well, under the direction of Emily Owens. ... As Jack attempts to battle his addiction the two have a slapstick fight (choreographed by John Gardner) that mixes laugh-out-loud humor with the internal fight Jack is undertaking. ... Kyle is an immensely relatable comedy that allows us to laugh at the self-destructive spirals so many of us slip into at some point in our lives."
- Adrienne Urbanski, Theatre is Easy (Best Bet)
"The increasingly unkempt Nat Cassidy is outstanding not just at communicating the complexities of Jack's highs and lows but also at keeping Jack someone whom the audience is pulling for during that journey. Cassidy and Alexandro also succeed in establishing an appealing bond between Jack and Crystal early on, so that the audience feels Alexandro's absence from the stage in the same way that Jack feels her absence from his life. ... An addiction comedy might itself sound paradoxical, but Kyle walks the line between laughter and darkness with entertaining aplomb."
- Leah Richards, Culture Catch
"Playing Jack, Nat Cassidy is given the heavy lift of a lightweight character. As Harvey Danger (no relation to the rabbit) once sagely advised us, “a tragedy requires a little greatness to begin with,” and Jack gives us little reason to mourn his best self before his fall begins. This of course serves as a smart B-side to the resolute absence of sympathy seen in the way Kyle is portrayed; the excuses we see both halves of Jack’s psyche make for himself are elaborate and absurd (and, to anyone who’s dealt with an addict or been one, note-perfect), but the playwright himself is making none. If you’re looking for gravitas from Jack, welcome to the club, but be careful what you ask for; Cassidy does a good job as a personality who projects superficial goodwill to avoid looking inward, and the depth Cassidy is capable of breaks through at Jack’s moments of worry or fright, and especially as he’s monologuing to a therapist; the point at which he’s most by himself is the one time his life is not an act, with no one to perform for, or hide from."
- Adam McGovern, HiLoBrow
"Hollis James and Nat Cassidy excel at playing the same person in unison of detailed gestures and matched energy. ... Kyle delivers the truths of a serious problem through a comedic lens without dehumanizing or vilifying a person with a cocaine addiction."
- Virginia Jimenez, Times Square Chronicles
"[Cassidy's] performance of this young man is stellar and his audience stays by his side. He is angry. He is confused. He is disappointed in himself. He is loved."
- Kristin Hardwick, Hi! Drama
"Taking on Jack, Nat Cassidy and his wide eyes went on a difficult journey. Battling his inner demons, Cassidy found the comedy of the dark battle between addiction and depression without making light of the situation."
- Michael Block, Theater in the Now
King Kirby
By Crystal Skillman and Fred Van Lente
June 2014
"Nat Cassidy['s Stan Lee is] a sly impersonation ... Hits nary a speedbump ... The cast is uniformly on target."
- Andy Webster, The New York Times
"The actors were outstanding ... And then there is the timeless huckster, Stan Lee. Nat Cassidy did a great job in portraying the funky flashman, double talking charlatan. He nailed Stan Lee’s voice. And the over the top dialogue that Stan was known for ranting in normal conversations. ... Bravo ... Standing ovation."
- D.J. Coffman, Bleeding Cool
June 2014
"Nat Cassidy['s Stan Lee is] a sly impersonation ... Hits nary a speedbump ... The cast is uniformly on target."
- Andy Webster, The New York Times
"The actors were outstanding ... And then there is the timeless huckster, Stan Lee. Nat Cassidy did a great job in portraying the funky flashman, double talking charlatan. He nailed Stan Lee’s voice. And the over the top dialogue that Stan was known for ranting in normal conversations. ... Bravo ... Standing ovation."
- D.J. Coffman, Bleeding Cool
THEY WILL OUTLIVE US ALL
A gotta and two shearers film
Written by Jesse Gotta
Directed by Patrick Shearer
Released August 2013
www.theywilloutliveusall.com
Winner, Route 66 International Film Festival: Best Actor (Nat Cassidy) and Best Actress (Jessi Gotta)
Winner, Toronto Independent Film Festival: Best Sci-Fi/Horror Feature
Winner, Shockerfest International Film Festival, Best Horror Feature
Winner, Zompire the Undead Film Festival, Le Gran' Zombi Award
Winner, New Mexico Fright Festival, Best Picture AND Best Creature Feature
Winner, Atlanta Horror Film Festival, Best Comedy Feature
"What impresses me most as a reviewer is when a low budget comes along and plays within its own means, yet still is able to dazzle and surprise. This is exactly what They Will Outlive Us All does. Undeniably charming and utterly unique ... The finale where [Nat Cassidy's] Daniel fights to save his best friend Margot is both heartfelt and exhilarating. ... I’d put [Jessi Gotta's] comedy chops against any big league actor any old day ... They Will Outlive Us All is filled with one scene after another of either quality laughs that will make stuff jiggle, shivers that hit the spine with precision, and action sequences filled with both from start to finish. Both Gotti and Cassidy are talented enough to carry this entire film and never remind you that this little movie was done so cheaply. Cleverly written and uproariously effective in every possible way, They Will Outlive Us All is exactly the type of gem I look for in indie cinema. Don’t miss this film!"
- Ain't It Cool
"One of the best horror comedies available today ... They Will Outlive Us All has it all- bugs, blood, laughs, slime, ass kicking and a tandem of main characters whom you can’t help but relate to and love. ... The chemistry between Cassidy and Gotta is strong, making them very likeable characters. Their banter amongst one another on everything from hogging the shower to figuring out how to kill a big (and I mean freakishly big) bug scuttling around their apartment is loose and smart. I guarantee you won’t find another film this side of the sun that makes better use of the word 'cunt.' It’s hard enough making an indie comedy funny, but this film does more than that- it mixes in the heebie jeebies of bugs and gross slime and also the darkness of impending doom with ease. ... A must-see. (4/4 Skulls)"
- Mangled Matters
"They Will Outlive Us All is typical of indie movies that are products of extremely limited resources in that the components that comprise this story are few. There are essentially two characters operating in one location. As there are fewer variables, each one bears a greater share of responsibility for whether or not this movie works. And where many indie projects crash and burn, They Will Outlive Us All flies true. The lion’s share of responsibility for the success of this particular film falls on the performances of Gotta and Cassidy and to put it simply, they are fantastic. ... Gotta’s smart script along with Shearer’s understated direction of his cast’s chemistry and top-notch comedic timing results in a movie that’s funny, creepy, gross, and most impressively infused with some heart in its final act. ... [E]qual parts over-the-top and entertaining. They Will Outlive Us All is ‘Exhibit A’ for the potential of incredible movies to exist completely independently from large sums of money and other capital. ... This is true independent filmmaking at its finest, sure to please fans of bizarre and challenging indie fare as well as fans of schlock and exploitation and most of those who reside somewhere in between these camps.
- Ravenous Monster
"The film turned out to be entertaining. There is some good humor here and the acting of Jessi Gotta and Nat Cassidy was really good. I was really impressed with Nat Cassidy. This is the first time I am seeing him in a film and I thought the chemistry with Jessi really carried [it]. The two actors had to be on their game because they were the whole film. ... [An] indie gem ... Check it out you won’t be disappointed. (3.5/5 Hunchbacks)"
- Igor's Lab
"A horror comedy that shows tremendous potential from all involved, and one that any horror fan can appreciate and enjoy. ... One thing I was immensely impressed with in this movie was the acting by the two main characters. ... Nat Cassidy as Daniel and Jessi Gotta (also a producer and writer) as Margot had no problems at all acting like two roommates who know each other well and were incredibly comfortable and natural around each other. Their comedic timing and delivery had me laughing many times throughout, and the little quirks that the characters were given had a wonderful way of coming around at the end in both a funny and heartwarming way. By the climax, things become less about big roaches and more about the relationship between these two people, which I actually found to be really sweet. ... They Will Outlive Us All is a wonderfully shot and acted feature worthy of standing beside any other comedy horror out there. It's a tad short at only 73 minutes but that doesn't matter - I watched it twice after receiving it and thoroughly enjoyed it both times, actually wanting more by the time it was over. If you get the chance, don't miss seeing this one!"
- The Girl Who Loves Horror
"Subtly funny throughout with some great slapstick moments thrown in as well as some really cool and cheestastic effects... They Will Outlive Us All manages to stay true the original formula and feel of classic killer bug films while simultaneously modernizing it and giving it a fresh and thoroughly disgusting and quease-inducing twist. ... I also must say this film did an amazing thing with making an entire film work and remain consistently engaging and entertaining with only two characters present throughout. The chemistry and rapport between the characters of Margot and Daniel was nothing short of great. Both characters were familiar to the point that i felt a if they were old friends by the end of the film and I don't think I'll be alone by far in shouting for a sequel to this little gem. I give this film no middle fingers up, it was equal parts funny, gross and suspenseful and it's a unique experience I'd recommend to anyone who has nostalgia for the giant bug classics of yesteryear... Just don't eat before watching this one, trust me, you might regret it if you do."
- B Is for Best
Written by Jesse Gotta
Directed by Patrick Shearer
Released August 2013
www.theywilloutliveusall.com
Winner, Route 66 International Film Festival: Best Actor (Nat Cassidy) and Best Actress (Jessi Gotta)
Winner, Toronto Independent Film Festival: Best Sci-Fi/Horror Feature
Winner, Shockerfest International Film Festival, Best Horror Feature
Winner, Zompire the Undead Film Festival, Le Gran' Zombi Award
Winner, New Mexico Fright Festival, Best Picture AND Best Creature Feature
Winner, Atlanta Horror Film Festival, Best Comedy Feature
"What impresses me most as a reviewer is when a low budget comes along and plays within its own means, yet still is able to dazzle and surprise. This is exactly what They Will Outlive Us All does. Undeniably charming and utterly unique ... The finale where [Nat Cassidy's] Daniel fights to save his best friend Margot is both heartfelt and exhilarating. ... I’d put [Jessi Gotta's] comedy chops against any big league actor any old day ... They Will Outlive Us All is filled with one scene after another of either quality laughs that will make stuff jiggle, shivers that hit the spine with precision, and action sequences filled with both from start to finish. Both Gotti and Cassidy are talented enough to carry this entire film and never remind you that this little movie was done so cheaply. Cleverly written and uproariously effective in every possible way, They Will Outlive Us All is exactly the type of gem I look for in indie cinema. Don’t miss this film!"
- Ain't It Cool
"One of the best horror comedies available today ... They Will Outlive Us All has it all- bugs, blood, laughs, slime, ass kicking and a tandem of main characters whom you can’t help but relate to and love. ... The chemistry between Cassidy and Gotta is strong, making them very likeable characters. Their banter amongst one another on everything from hogging the shower to figuring out how to kill a big (and I mean freakishly big) bug scuttling around their apartment is loose and smart. I guarantee you won’t find another film this side of the sun that makes better use of the word 'cunt.' It’s hard enough making an indie comedy funny, but this film does more than that- it mixes in the heebie jeebies of bugs and gross slime and also the darkness of impending doom with ease. ... A must-see. (4/4 Skulls)"
- Mangled Matters
"They Will Outlive Us All is typical of indie movies that are products of extremely limited resources in that the components that comprise this story are few. There are essentially two characters operating in one location. As there are fewer variables, each one bears a greater share of responsibility for whether or not this movie works. And where many indie projects crash and burn, They Will Outlive Us All flies true. The lion’s share of responsibility for the success of this particular film falls on the performances of Gotta and Cassidy and to put it simply, they are fantastic. ... Gotta’s smart script along with Shearer’s understated direction of his cast’s chemistry and top-notch comedic timing results in a movie that’s funny, creepy, gross, and most impressively infused with some heart in its final act. ... [E]qual parts over-the-top and entertaining. They Will Outlive Us All is ‘Exhibit A’ for the potential of incredible movies to exist completely independently from large sums of money and other capital. ... This is true independent filmmaking at its finest, sure to please fans of bizarre and challenging indie fare as well as fans of schlock and exploitation and most of those who reside somewhere in between these camps.
- Ravenous Monster
"The film turned out to be entertaining. There is some good humor here and the acting of Jessi Gotta and Nat Cassidy was really good. I was really impressed with Nat Cassidy. This is the first time I am seeing him in a film and I thought the chemistry with Jessi really carried [it]. The two actors had to be on their game because they were the whole film. ... [An] indie gem ... Check it out you won’t be disappointed. (3.5/5 Hunchbacks)"
- Igor's Lab
"A horror comedy that shows tremendous potential from all involved, and one that any horror fan can appreciate and enjoy. ... One thing I was immensely impressed with in this movie was the acting by the two main characters. ... Nat Cassidy as Daniel and Jessi Gotta (also a producer and writer) as Margot had no problems at all acting like two roommates who know each other well and were incredibly comfortable and natural around each other. Their comedic timing and delivery had me laughing many times throughout, and the little quirks that the characters were given had a wonderful way of coming around at the end in both a funny and heartwarming way. By the climax, things become less about big roaches and more about the relationship between these two people, which I actually found to be really sweet. ... They Will Outlive Us All is a wonderfully shot and acted feature worthy of standing beside any other comedy horror out there. It's a tad short at only 73 minutes but that doesn't matter - I watched it twice after receiving it and thoroughly enjoyed it both times, actually wanting more by the time it was over. If you get the chance, don't miss seeing this one!"
- The Girl Who Loves Horror
"Subtly funny throughout with some great slapstick moments thrown in as well as some really cool and cheestastic effects... They Will Outlive Us All manages to stay true the original formula and feel of classic killer bug films while simultaneously modernizing it and giving it a fresh and thoroughly disgusting and quease-inducing twist. ... I also must say this film did an amazing thing with making an entire film work and remain consistently engaging and entertaining with only two characters present throughout. The chemistry and rapport between the characters of Margot and Daniel was nothing short of great. Both characters were familiar to the point that i felt a if they were old friends by the end of the film and I don't think I'll be alone by far in shouting for a sequel to this little gem. I give this film no middle fingers up, it was equal parts funny, gross and suspenseful and it's a unique experience I'd recommend to anyone who has nostalgia for the giant bug classics of yesteryear... Just don't eat before watching this one, trust me, you might regret it if you do."
- B Is for Best
Honey Fist
By August Schulenburg
Flux Theatre Ensemble
April-May 2013
"The cast does an amazing job and all give phenomenal performances. Each one locks onto the truth of their character."
- Gina Femia, New York Theatre Review
"Joey [is] played with convincing rawness by Nat Cassidy."
- Jon Sobel, Stage Mage
"Cassidy [is] full of nervous energy and desperation."
- Wendy Caster, Show Showdown
"Well acted by a cast of six ... all of whom bring their characters to raw and vivid life ... [A]s stirring a theatrical experience as any on offer right now."
- Martin Denton, NYTheatre
"The actors are all deeply honest and real ... Cassidy is full of a barely suppressed overwhelming desire that finally gets to explode in later scenes."
- Duncan Pflaster, Broadway World
Flux Theatre Ensemble
April-May 2013
"The cast does an amazing job and all give phenomenal performances. Each one locks onto the truth of their character."
- Gina Femia, New York Theatre Review
"Joey [is] played with convincing rawness by Nat Cassidy."
- Jon Sobel, Stage Mage
"Cassidy [is] full of nervous energy and desperation."
- Wendy Caster, Show Showdown
"Well acted by a cast of six ... all of whom bring their characters to raw and vivid life ... [A]s stirring a theatrical experience as any on offer right now."
- Martin Denton, NYTheatre
"The actors are all deeply honest and real ... Cassidy is full of a barely suppressed overwhelming desire that finally gets to explode in later scenes."
- Duncan Pflaster, Broadway World
Generic Magic Realism
A One-Man Show by Ed Malin
February 2013
New York Innovative Theatre Award nominee: Nat Cassidy, Outstanding Solo Performance (2013)
"It's amazing what can be accomplished on stage with nothing but an extraordinary actor, a guitar, and a generic black box. ... Malin's script is hilarious and insightful and wise, and Cassidy, directed stylishly and intelligently by frequent collaborator DeLisa White, is by turns luminous and illuminating as the cheerful, life-embracing South American wanderer. ... Cassidy invests Octavio with a childlike sense of wonder that's downright infectious; even though this is a performance that's highly physical and often outsized, he maintains a splendid and delightful intimacy with the audience. ... He also brings the other inhabitants of Octavio's tale to vivid life with strongly realized voices and characterizations. White and Malin shrewdly let the words and the speaker make the magic promised by the title, unfettered and free, just as Octavio himself longs to be."
- Martin Denton, nytheatre.com
February 2013
New York Innovative Theatre Award nominee: Nat Cassidy, Outstanding Solo Performance (2013)
"It's amazing what can be accomplished on stage with nothing but an extraordinary actor, a guitar, and a generic black box. ... Malin's script is hilarious and insightful and wise, and Cassidy, directed stylishly and intelligently by frequent collaborator DeLisa White, is by turns luminous and illuminating as the cheerful, life-embracing South American wanderer. ... Cassidy invests Octavio with a childlike sense of wonder that's downright infectious; even though this is a performance that's highly physical and often outsized, he maintains a splendid and delightful intimacy with the audience. ... He also brings the other inhabitants of Octavio's tale to vivid life with strongly realized voices and characterizations. White and Malin shrewdly let the words and the speaker make the magic promised by the title, unfettered and free, just as Octavio himself longs to be."
- Martin Denton, nytheatre.com
I Am Providence
A One-Man Show by Nat Cassidy
March 2011
New York Innovative Theatre Award winner: Nat Cassidy, Outstanding Solo Performance (2011)
"A deliciously creepy evening full of surprise and frisson ... Very learned and highly entertaining [with] exciting and daring risks ... Nat Cassidy and Greg Oliver Bodine have devised an evening that puts us smack in Lovecraft’s territory of the weird and wild ... Clever writing complemented by excellent sound and light make for a most entertaining evening ... A near-perfect horror fest... The audience, breath held, hang[s] on every sound and word. This is pure storytelling."
- Nita Congress, nytheatre
"Nat Cassidy is obviously a talented performer and writer!"
- Ruth, McCann, The Village Voice
"Truly amazing ... Things at the Doorstep [is] an unexpectedly brilliant mediation on the use and function of horror, on H.P. Lovecraft himself, on the supernatural, on storytelling, on death, on hope. ... A play creepy and magical enough to do old H.P. proud. ... I'm still thinking about it, days later."
- Tor.com
"Successful for so many reasons ... A true treat ... Entertaining, educational and strangely unsettling. Any fan of horror in general shouldn't miss this show ... Riveting."
- Weston Clay, Theatre Is Easy
"It is the most delightful thing we have ever seen anyone pull off on a stage, anywhere, ever, and if you are in New York you must go see it. You must. You REALLY MUST. Go. GO."
- The Rejectionist, The Rejectionist
March 2011
New York Innovative Theatre Award winner: Nat Cassidy, Outstanding Solo Performance (2011)
"A deliciously creepy evening full of surprise and frisson ... Very learned and highly entertaining [with] exciting and daring risks ... Nat Cassidy and Greg Oliver Bodine have devised an evening that puts us smack in Lovecraft’s territory of the weird and wild ... Clever writing complemented by excellent sound and light make for a most entertaining evening ... A near-perfect horror fest... The audience, breath held, hang[s] on every sound and word. This is pure storytelling."
- Nita Congress, nytheatre
"Nat Cassidy is obviously a talented performer and writer!"
- Ruth, McCann, The Village Voice
"Truly amazing ... Things at the Doorstep [is] an unexpectedly brilliant mediation on the use and function of horror, on H.P. Lovecraft himself, on the supernatural, on storytelling, on death, on hope. ... A play creepy and magical enough to do old H.P. proud. ... I'm still thinking about it, days later."
- Tor.com
"Successful for so many reasons ... A true treat ... Entertaining, educational and strangely unsettling. Any fan of horror in general shouldn't miss this show ... Riveting."
- Weston Clay, Theatre Is Easy
"It is the most delightful thing we have ever seen anyone pull off on a stage, anywhere, ever, and if you are in New York you must go see it. You must. You REALLY MUST. Go. GO."
- The Rejectionist, The Rejectionist
Henry VI, Part III
Wide Eyed Productions
Classic Stage Company's East 13th St. Theatre
July 2010
"[An] utterly new reinvention ... This Henry was terrific. ... Remarkable ... This production is propelled by some terrific acting. It was full of subtle, tiny gestures, like Henry's reluctant sigh when he once again must remove his crown, that stay safely away from over-doing it. .... It reminded me of an Ionesco play in a way. There are dozens, or seemingly hundreds of characters here, but it is basically the story of Henry ... The play stayed with me ... Terrific ... The play had me hooked from the moment the action began ... This was seriously excellent acting across the board. ... All the performers were outstanding.This was the best tragedy I've seen so far (a rich man's Titus Andronicus), and only partly thanks to the Bard."
- A Year of Shakespeare in NYC (Daily Reviewer Top 100 Blog)
"[An] accesible, entertaining and well-acted production. ... Nat Cassidy stands out as a contemplative King Henry."
- Matt Windman, AMNY/On Off Broadway
"I struck gold the other night [with Henry VI, Part III]. This is why I persist in chasing these small productions. I wish I were a better writer so I could do justice to these guys ... Fucking brilliant. The entire production was one, long (3:15) holy shit. ... Props to Nat Cassidy as Henry, the King who never wanted to be King. Who is this guy? An unknown who doesn’t deserve to be."
- The Unbearable Banishment
"Such admired actors, such mighty make believers, were among the huge cast of Henry VI Part 3. Rather than shy away from the dramatic tenor of the play, these actors immersed themselves in it. Rather than be embarrassed by the emotional hugeness of their characters, these actors embraced it. Rather than pull Shakespearean extremity down to a supposedly more modern size, these actors strove to fill it. And they did so by surrendering to the power of their imagination, with sincerity and seriousness. It was a welcome sight. Efficient and elegant. Balls to the wall. Wow. I mean, wow."
- Anna Moore, A Year of Plays
"One of the best performances I have seen."
- Shakespearean Monkey
"Wide Eyed Productions' mounting of an unadulterated Henry VI, Part 3 is something of an event for theatre history buffs and Bardophiles ... The play abounds with colorful characters ... Intriguing, engaging and ultimately tragic ... Many of the theatrical gambits and themes that Shakespeare developed later in his career are clearly visible in this early play ... Nat Cassidy gives us a pensive and surprisingly good-humored Henry that makes us interested in what he might do with Richard II."
- Martin Denton, Nytheatre.com
Classic Stage Company's East 13th St. Theatre
July 2010
"[An] utterly new reinvention ... This Henry was terrific. ... Remarkable ... This production is propelled by some terrific acting. It was full of subtle, tiny gestures, like Henry's reluctant sigh when he once again must remove his crown, that stay safely away from over-doing it. .... It reminded me of an Ionesco play in a way. There are dozens, or seemingly hundreds of characters here, but it is basically the story of Henry ... The play stayed with me ... Terrific ... The play had me hooked from the moment the action began ... This was seriously excellent acting across the board. ... All the performers were outstanding.This was the best tragedy I've seen so far (a rich man's Titus Andronicus), and only partly thanks to the Bard."
- A Year of Shakespeare in NYC (Daily Reviewer Top 100 Blog)
"[An] accesible, entertaining and well-acted production. ... Nat Cassidy stands out as a contemplative King Henry."
- Matt Windman, AMNY/On Off Broadway
"I struck gold the other night [with Henry VI, Part III]. This is why I persist in chasing these small productions. I wish I were a better writer so I could do justice to these guys ... Fucking brilliant. The entire production was one, long (3:15) holy shit. ... Props to Nat Cassidy as Henry, the King who never wanted to be King. Who is this guy? An unknown who doesn’t deserve to be."
- The Unbearable Banishment
"Such admired actors, such mighty make believers, were among the huge cast of Henry VI Part 3. Rather than shy away from the dramatic tenor of the play, these actors immersed themselves in it. Rather than be embarrassed by the emotional hugeness of their characters, these actors embraced it. Rather than pull Shakespearean extremity down to a supposedly more modern size, these actors strove to fill it. And they did so by surrendering to the power of their imagination, with sincerity and seriousness. It was a welcome sight. Efficient and elegant. Balls to the wall. Wow. I mean, wow."
- Anna Moore, A Year of Plays
"One of the best performances I have seen."
- Shakespearean Monkey
"Wide Eyed Productions' mounting of an unadulterated Henry VI, Part 3 is something of an event for theatre history buffs and Bardophiles ... The play abounds with colorful characters ... Intriguing, engaging and ultimately tragic ... Many of the theatrical gambits and themes that Shakespeare developed later in his career are clearly visible in this early play ... Nat Cassidy gives us a pensive and surprisingly good-humored Henry that makes us interested in what he might do with Richard II."
- Martin Denton, Nytheatre.com
The Underpants
The Gallery Players
September 2008
"Nat Cassidy is especially hilarious in his portrayal of Frank Versati, an enraptured poet whose excitement about words often manifests itself physically. . . . The Underpants is an intelligent comedy that poses questions of an intimate nature without causing discomfort. I laughed and left feeling like I had a lot to consider, which for me is the perfect combination of experiences."
- Mitchell Conway, Nytheatre.com
"[A] stellar cast . . . Directed on high spin by Seth Soloway, this production manages--with the help of manic comic actors like Nat Cassidy and the sublime subtlety of Catia Ojeda--to iron out the kinks of the Carl Sternheim's underlying characters and get back to the wild and crazy puns of Martin's adaptation. . . . [Steve Martin] wildly succeeds with [the character of] Versati, a wild and crazy guy who is closer to his own heart--and apparently Cassidy's, for he steals every single scene. . . . [This production] expos[es] the sheer side of Martin's Underpants in all their glory."
- Aaron Riccio, New Theater Corps
"Blooming Good! Underpants is a hit! Sometimes, all you’re really in the mood for is a good, hearty laugh . . . The Gallery Players’ new production of The Underpants is just that kind of fun. It’s a lighthearted, yet fiercely acted romp. The actors and actresses expertly take and deliver the script, adapted from Carl Sternheim’s German farce by Steve Martin (yes, that Steve Martin). . . . Nat Cassidy, whose bright aqua ascot matches his eyes and his socks and who speaks in hilarious, forced metaphor...expertly woos the naïve Louise. . . . The actors play out [their] characters with great skill, and facial expressions and body language are often more fun to watch than even the fast-paced, well-rehearsed dialogue — all of which makes “The Underpants” a delight, a great value, and, most of all, the perfect respite from the seriousness of real life."
- Sarah Portlock, The Brooklyn Paper
"[T]he play comes off as quite charming, but this has more to do with the delightful cast than the script. . . The ensemble has a knack for infusing both their archetypal characters and the jokes with great timing and facial expressions. . . Cassidy makes for a hilariously self-obsessed dreamer. His Versati is like the arrogant kid in your creative writing class that read all his work with a Shakespearean accent and flirted with whoever sat next to him. The pompous delivery never gets old (one favorite: when he doesn't have a pen to write down a good line, he shrugs it off as "society's loss")."
- Samantha O'Brien, Off-Off Online
September 2008
"Nat Cassidy is especially hilarious in his portrayal of Frank Versati, an enraptured poet whose excitement about words often manifests itself physically. . . . The Underpants is an intelligent comedy that poses questions of an intimate nature without causing discomfort. I laughed and left feeling like I had a lot to consider, which for me is the perfect combination of experiences."
- Mitchell Conway, Nytheatre.com
"[A] stellar cast . . . Directed on high spin by Seth Soloway, this production manages--with the help of manic comic actors like Nat Cassidy and the sublime subtlety of Catia Ojeda--to iron out the kinks of the Carl Sternheim's underlying characters and get back to the wild and crazy puns of Martin's adaptation. . . . [Steve Martin] wildly succeeds with [the character of] Versati, a wild and crazy guy who is closer to his own heart--and apparently Cassidy's, for he steals every single scene. . . . [This production] expos[es] the sheer side of Martin's Underpants in all their glory."
- Aaron Riccio, New Theater Corps
"Blooming Good! Underpants is a hit! Sometimes, all you’re really in the mood for is a good, hearty laugh . . . The Gallery Players’ new production of The Underpants is just that kind of fun. It’s a lighthearted, yet fiercely acted romp. The actors and actresses expertly take and deliver the script, adapted from Carl Sternheim’s German farce by Steve Martin (yes, that Steve Martin). . . . Nat Cassidy, whose bright aqua ascot matches his eyes and his socks and who speaks in hilarious, forced metaphor...expertly woos the naïve Louise. . . . The actors play out [their] characters with great skill, and facial expressions and body language are often more fun to watch than even the fast-paced, well-rehearsed dialogue — all of which makes “The Underpants” a delight, a great value, and, most of all, the perfect respite from the seriousness of real life."
- Sarah Portlock, The Brooklyn Paper
"[T]he play comes off as quite charming, but this has more to do with the delightful cast than the script. . . The ensemble has a knack for infusing both their archetypal characters and the jokes with great timing and facial expressions. . . Cassidy makes for a hilariously self-obsessed dreamer. His Versati is like the arrogant kid in your creative writing class that read all his work with a Shakespearean accent and flirted with whoever sat next to him. The pompous delivery never gets old (one favorite: when he doesn't have a pen to write down a good line, he shrugs it off as "society's loss")."
- Samantha O'Brien, Off-Off Online
Jane Eyre
Mergatroyd Productions
45th Street Theatre
February 2008
"The performances are stellar . . . A valiant effort in transplanting the sprawling work to the confines of the stage."
- Amy Freeman, Offoffonline.com
"[T]he performers are very competent and often sparkling, with most of them pulling double roles. . . . Nat Cassidy's St. John is nuanced and particularly affecting."
- Kat Chamberlain, Nytheatre.com
"The acting hits on all cylinders. The 23 characters from the novel are reduced to 16, with four actors taking on various, memorable roles. . . . Unlike the novel, the production spends a great deal of time on Jane's experience with St. John Rivers, her cousin and potential mate. As Rivers, Nat Cassidy is much harsher and religious law-abiding than his character is in the novel, but it also helps us to understand why Jane runs back to Rochester . She not only still loves Rochester , but committing to Rivers is clearly a fate that she doesn't want for herself. The audience doesn't want that for her either. . . . Jane Eyre is an ambitious effort. The fact that they were able to encapsulate the gist of the novel in a two-hour presentation is a feat unto itself. "
- Cindy Pierre, Talkin' Broadway
45th Street Theatre
February 2008
"The performances are stellar . . . A valiant effort in transplanting the sprawling work to the confines of the stage."
- Amy Freeman, Offoffonline.com
"[T]he performers are very competent and often sparkling, with most of them pulling double roles. . . . Nat Cassidy's St. John is nuanced and particularly affecting."
- Kat Chamberlain, Nytheatre.com
"The acting hits on all cylinders. The 23 characters from the novel are reduced to 16, with four actors taking on various, memorable roles. . . . Unlike the novel, the production spends a great deal of time on Jane's experience with St. John Rivers, her cousin and potential mate. As Rivers, Nat Cassidy is much harsher and religious law-abiding than his character is in the novel, but it also helps us to understand why Jane runs back to Rochester . She not only still loves Rochester , but committing to Rivers is clearly a fate that she doesn't want for herself. The audience doesn't want that for her either. . . . Jane Eyre is an ambitious effort. The fact that they were able to encapsulate the gist of the novel in a two-hour presentation is a feat unto itself. "
- Cindy Pierre, Talkin' Broadway
Hamlet
Czechoslovakian Marionette Theatre/GOH Productions
Jane's Carousel, DUMBO
November 2007
"For anyone who thinks of attending Shakespeare as a duty, along comes Czechoslovak-American Marionette Theatre, a company that has quietly been doing some of the most complete and original work in the city. . . . Five actors take all the roles, manipulating a host of puppets (faintly menacing creations by Jakub Krejýýí, with toy marionettes by Miloýý Kasal). Ophelia is both a sweet-voiced, long-haired actress (Deborah Beshaw) and a three-foot rod marionette in a lavender dress. The dolls kiss when she tangos with Hamlet (compellingly and convincingly played by Nat Cassidy), but the buoyant spin belongs to the actors. This shifting perspective is no mere gimmick. Looking from live human to puppet underscores Hamlet's theme of an ineluctable, manipulating destiny. Plus, it's fun . . . Claudius is seriously sinister. Cassidy's Hamlet has princely potential — if those horses would just stop turning . . . Czechoslovak-American Marionette Theatre's Hamlet lingers in the mind like song lyrics or Shakespeare's poetry."
- Gwen Orel, Backstage (starred review)
"A performance you watch for the visual and aural moments when the various elements mesh. The carousel is revved up, the music grows more insistent . . . When, as happens several times, the carousel carries a character inexorably away from the unfolding tragedy, it's a perfect image. Think of any classic nightmare in which you can see something awful happening but are somehow unable to intervene."
- Neil Genzlinger, New York Times
"Shakespeare in the Round-and-Round," The New York Times, November 4, 2007
"One-of-a-kind . . . make[s] the drama big enough for the children in the to enjoy and understand, but intense and goose-flesh inducing enough for us big kids during the truly heartbreaking scenes . . . Particularly powerful. The songs illustrate the action nicely, and the musical genres cross over from gospel to Nordic war chant to Southern blues to Eastern European folk to cinematic soundtrack . . . The puppets do their thing, sometimes less interestingly than the performers, and sometimes as interesting. Hardly do the puppets outshine the hardworking actors . . . Wondrous."
- Matt Levy, The L Magazine
"One of the show’s most poignant moments occurs not on the carousel, but when Hamlet, played by Nat Cassidy, who also manipulates the Hamlet puppet (all five actors are similarly 'double-cast'), sits on the floor, picks up a guitar and begins strumming. He breaks into a campfire song with a lovely melody — the 'To Be or Not to Be' soliloquy."
- Gwen Orel,The Prague Post
"[D]irectors Vit Horejs and Pavel Dobrusky struck gold with their offbeat choices. The most impressive work here comes from the living, breathing cast. Each player took on a number of roles, and even occasionally switched characters, and worked wonders with his puppet. The wooden blocks came to life when they dragged their feet, danced or struggled to scale a wall; there is no doubt that their maneuvering was skillful. Indeed, when Nat Cassidy’s Hamlet pressed a flesh-colored recorder betwixt his thighs and his puppet suggested to Rosencrantz and Guildenstern that they play it, I could almost see a grimace creep across the puppet’s immobile face . . . [Z]estful."
- Adam Rathe, The Brooklyn Paper
"One of a kind . . . . unforgettable."
- Amanda Rivkin, The Slovak Spectator, "Staging Hamlet the Czechoslovak Way"
Jane's Carousel, DUMBO
November 2007
"For anyone who thinks of attending Shakespeare as a duty, along comes Czechoslovak-American Marionette Theatre, a company that has quietly been doing some of the most complete and original work in the city. . . . Five actors take all the roles, manipulating a host of puppets (faintly menacing creations by Jakub Krejýýí, with toy marionettes by Miloýý Kasal). Ophelia is both a sweet-voiced, long-haired actress (Deborah Beshaw) and a three-foot rod marionette in a lavender dress. The dolls kiss when she tangos with Hamlet (compellingly and convincingly played by Nat Cassidy), but the buoyant spin belongs to the actors. This shifting perspective is no mere gimmick. Looking from live human to puppet underscores Hamlet's theme of an ineluctable, manipulating destiny. Plus, it's fun . . . Claudius is seriously sinister. Cassidy's Hamlet has princely potential — if those horses would just stop turning . . . Czechoslovak-American Marionette Theatre's Hamlet lingers in the mind like song lyrics or Shakespeare's poetry."
- Gwen Orel, Backstage (starred review)
"A performance you watch for the visual and aural moments when the various elements mesh. The carousel is revved up, the music grows more insistent . . . When, as happens several times, the carousel carries a character inexorably away from the unfolding tragedy, it's a perfect image. Think of any classic nightmare in which you can see something awful happening but are somehow unable to intervene."
- Neil Genzlinger, New York Times
"Shakespeare in the Round-and-Round," The New York Times, November 4, 2007
"One-of-a-kind . . . make[s] the drama big enough for the children in the to enjoy and understand, but intense and goose-flesh inducing enough for us big kids during the truly heartbreaking scenes . . . Particularly powerful. The songs illustrate the action nicely, and the musical genres cross over from gospel to Nordic war chant to Southern blues to Eastern European folk to cinematic soundtrack . . . The puppets do their thing, sometimes less interestingly than the performers, and sometimes as interesting. Hardly do the puppets outshine the hardworking actors . . . Wondrous."
- Matt Levy, The L Magazine
"One of the show’s most poignant moments occurs not on the carousel, but when Hamlet, played by Nat Cassidy, who also manipulates the Hamlet puppet (all five actors are similarly 'double-cast'), sits on the floor, picks up a guitar and begins strumming. He breaks into a campfire song with a lovely melody — the 'To Be or Not to Be' soliloquy."
- Gwen Orel,The Prague Post
"[D]irectors Vit Horejs and Pavel Dobrusky struck gold with their offbeat choices. The most impressive work here comes from the living, breathing cast. Each player took on a number of roles, and even occasionally switched characters, and worked wonders with his puppet. The wooden blocks came to life when they dragged their feet, danced or struggled to scale a wall; there is no doubt that their maneuvering was skillful. Indeed, when Nat Cassidy’s Hamlet pressed a flesh-colored recorder betwixt his thighs and his puppet suggested to Rosencrantz and Guildenstern that they play it, I could almost see a grimace creep across the puppet’s immobile face . . . [Z]estful."
- Adam Rathe, The Brooklyn Paper
"One of a kind . . . . unforgettable."
- Amanda Rivkin, The Slovak Spectator, "Staging Hamlet the Czechoslovak Way"
The Rise and Fall of Miles & Milo
Fine Feathered Friends/FringeNYC
August 2007
"****[Four Stars]. Ruthless . . . delivers big laughs."
- Clare Lambe, Time Out New York
"[A] gem of a play. Nat Cassidy is fun as Milo . . . but don't mistake it for a lightweight comedy. There is a serious point at work here."
- Anthony C.E. Nelson, Nytheatre.com
"Funny . . . well worth seeing . . . All of the performers were both engaging and entertaining."
- S.M. Dunlap, Offoffonline.com
"[Z]inging satire-comedy. [Sara Jeanne] Asselin and Nat Cassidy play the pair of activist-artists with aplomb, imbuing the duo, lovingly, with the proper mixture of good-naturedness and over-emphasized self-importance."
- Andy Probst, American Theater Web
The New York Times: Featured photograph of Nat Cassidy and Sara Jeanne Asselin in "Lunacy and Chaos."
August 2007
"****[Four Stars]. Ruthless . . . delivers big laughs."
- Clare Lambe, Time Out New York
"[A] gem of a play. Nat Cassidy is fun as Milo . . . but don't mistake it for a lightweight comedy. There is a serious point at work here."
- Anthony C.E. Nelson, Nytheatre.com
"Funny . . . well worth seeing . . . All of the performers were both engaging and entertaining."
- S.M. Dunlap, Offoffonline.com
"[Z]inging satire-comedy. [Sara Jeanne] Asselin and Nat Cassidy play the pair of activist-artists with aplomb, imbuing the duo, lovingly, with the proper mixture of good-naturedness and over-emphasized self-importance."
- Andy Probst, American Theater Web
The New York Times: Featured photograph of Nat Cassidy and Sara Jeanne Asselin in "Lunacy and Chaos."
A Midsummer Night's Dream
Theatre1010
"Some enchanted evening. [I]t’s a pleasure to report that Theater Ten Ten’s production is delightful on all counts. Nat Cassidy and Lisa Riegel [perform] with a sexy fascination [that] gets the plot started . . . As Oberon, Cassidy is a terrific observer and listener, never upstaging the action in front of him, but not passive either."
- David Mackler, Off-off-Broadway Review
"Can't-miss tour-de-force . . . [I]n just about every department, this revival is a true success, and if by some chance you've never seen this tasty morsel on stage, then by all means seize this chance to sample it."
- Martin Denton, Nytheatre.com
"Some enchanted evening. [I]t’s a pleasure to report that Theater Ten Ten’s production is delightful on all counts. Nat Cassidy and Lisa Riegel [perform] with a sexy fascination [that] gets the plot started . . . As Oberon, Cassidy is a terrific observer and listener, never upstaging the action in front of him, but not passive either."
- David Mackler, Off-off-Broadway Review
"Can't-miss tour-de-force . . . [I]n just about every department, this revival is a true success, and if by some chance you've never seen this tasty morsel on stage, then by all means seize this chance to sample it."
- Martin Denton, Nytheatre.com
The Answer Is Horse
July 2006
"The Answer is Horse has an ambitious reach . . . The presentations are earnest and heartfelt, with the competent ensemble cast of Elizabeth Days, Nat Cassidy, Russell Feder, Cody Lindquist, Katie Naka, and Albert Sanchez, Jr. working hard at every moment to underscore the seriousness of the task at hand . . . [T]he performance made me wonder about my own capacity to be one or the other of those torturers, or even both at the same time. And that was an ambiguity worth going to the theatre to get."
- Michael Bettencourt, Nytheatre.com
"The Answer is Horse has an ambitious reach . . . The presentations are earnest and heartfelt, with the competent ensemble cast of Elizabeth Days, Nat Cassidy, Russell Feder, Cody Lindquist, Katie Naka, and Albert Sanchez, Jr. working hard at every moment to underscore the seriousness of the task at hand . . . [T]he performance made me wonder about my own capacity to be one or the other of those torturers, or even both at the same time. And that was an ambiguity worth going to the theatre to get."
- Michael Bettencourt, Nytheatre.com
Macbeth
Arizona Theatre Company
April-May 2005
"It would be tempting to cry 'All hail Arizona Theatre Company's Macbeth,' but that would be resorting to cliche to describe a production that avoids such things at every turn ... Loney and Ciulla couldn't be better, nor could Michael Santo as the murdered king; Deborah Fialkow, Christen Simon and Maren Maclean as the witches; Richard Trujillo as Macduff; Harris Kendall as Macduff's wife; and Roberto Guajardo, Nat Cassidy and David Gehrman in a number of smaller roles ... [T]his is an important production, the sort you'd expect to see on the stages at the National and Royal Shakespeare in London."
- Kyle Lawson, The Arizona Republic
"Few of the men seem this at-home in their roles or in the language, except for some of the bit players, notably Roberto Guajardo and Nat Cassidy . . . This is certainly a production of Macbeth that's worth seeing and marveling at."
- James Reel, Tucson Weekly
April-May 2005
"It would be tempting to cry 'All hail Arizona Theatre Company's Macbeth,' but that would be resorting to cliche to describe a production that avoids such things at every turn ... Loney and Ciulla couldn't be better, nor could Michael Santo as the murdered king; Deborah Fialkow, Christen Simon and Maren Maclean as the witches; Richard Trujillo as Macduff; Harris Kendall as Macduff's wife; and Roberto Guajardo, Nat Cassidy and David Gehrman in a number of smaller roles ... [T]his is an important production, the sort you'd expect to see on the stages at the National and Royal Shakespeare in London."
- Kyle Lawson, The Arizona Republic
"Few of the men seem this at-home in their roles or in the language, except for some of the bit players, notably Roberto Guajardo and Nat Cassidy . . . This is certainly a production of Macbeth that's worth seeing and marveling at."
- James Reel, Tucson Weekly
Hamlet
Arizona Repertory Theatre
March 2004
"Nat Cassidy proves he's good enough for any stagewith his turn as Hamlet. . . . It shouldn't be a surprise that Cassidy comes through with such a wily, funny, angry Hamlet, but for the fact that he's doing it now, rather than 10 years from now. . . . This is not your father's Melancholy Dane, a man paralyzed by depression and indecision. Cassidy's Hamlet feeds off his own anger; he's a calculating, would-be angel of death, gathering evidence and biding his time. Cassidy's Hamlet is more a man of action than most versions of the Hamlet character. . . .Hamlet brings out the ham in actors, but Cassidy delivers a careful, naturally modulated performance. His "To be or not to be" soliloquy . . . flows with remarkable ease, neither portentous nor trivial. For this play, Cassidy seems to have subtly changed his vocal timbre; it's darker and a little deeper, with a touch of Richard Burton--a wonderful Shakespeare voice. The other players toil in Cassidy's shadow."
- James Reel, Tucson Weekly
"The deliciously talented Nat Cassidy['s] . . . prince was alive with youthful passions. He played some things lighter than an older . . . actor might - his scene with the skull of Yorick, for instance, was more funny than it was melancholic, as it is often played. But the humor worked with this young Hamlet, and you never once doubted the character's conflicts, his loves, and his anguish over his reluctant duty to avenge his father's death. In Cassidy's hands, the Bard's rhythmic poetry, to quote the character, flowed "trippingly on the tongue." If no one else matched Cassidy's performance, the play would still be worth seeing."
- Kathleen Allen, Arizona Daily Star
"The play itself is dominated by the absolutely stellar performanceof theatre production senior Nat Cassidy in the title role. Readers should stand up now and give Cassidy a “hurrah!” He nailed the performance."- Lindsey Muth, Arizona Daily Wildcat
Arizona Daily Wildcat: "'Hamlet' actor read 'Macbeth' in first grade," Elizabeth Thompson, February 5, 2004
Arizona Daily Star: "Get thee to 'Hamlet' for ghostly tragedy," Kathleen Allen, February 27, 2004
BEST OF 2004, Theatrical Production
Tie: Urinetown, UApresents; Hamlet, Arizona Repertory Theater
"High concept: Glamorous young hero struggles with a corrupt leader, but personal flaws result in his falling splat on the stage at play's end. That's the short version of our readers' two favorite theatrical productions this past season. Urinetown-the touring version of the recent, provocative Broadway musical-spilled black humor, an updated Brecht/Weill sensibility and the occasional potty joke across the Centennial Hall stage. Hamlet got an outstanding production out of the UA's Arizona Repertory Theater, and even if you didn't see Urinetown, Nat Cassidy as Shakespeare's melancholy Dane was enough to make you wet your pants."
- Tucson Weekly
March 2004
"Nat Cassidy proves he's good enough for any stagewith his turn as Hamlet. . . . It shouldn't be a surprise that Cassidy comes through with such a wily, funny, angry Hamlet, but for the fact that he's doing it now, rather than 10 years from now. . . . This is not your father's Melancholy Dane, a man paralyzed by depression and indecision. Cassidy's Hamlet feeds off his own anger; he's a calculating, would-be angel of death, gathering evidence and biding his time. Cassidy's Hamlet is more a man of action than most versions of the Hamlet character. . . .Hamlet brings out the ham in actors, but Cassidy delivers a careful, naturally modulated performance. His "To be or not to be" soliloquy . . . flows with remarkable ease, neither portentous nor trivial. For this play, Cassidy seems to have subtly changed his vocal timbre; it's darker and a little deeper, with a touch of Richard Burton--a wonderful Shakespeare voice. The other players toil in Cassidy's shadow."
- James Reel, Tucson Weekly
"The deliciously talented Nat Cassidy['s] . . . prince was alive with youthful passions. He played some things lighter than an older . . . actor might - his scene with the skull of Yorick, for instance, was more funny than it was melancholic, as it is often played. But the humor worked with this young Hamlet, and you never once doubted the character's conflicts, his loves, and his anguish over his reluctant duty to avenge his father's death. In Cassidy's hands, the Bard's rhythmic poetry, to quote the character, flowed "trippingly on the tongue." If no one else matched Cassidy's performance, the play would still be worth seeing."
- Kathleen Allen, Arizona Daily Star
"The play itself is dominated by the absolutely stellar performanceof theatre production senior Nat Cassidy in the title role. Readers should stand up now and give Cassidy a “hurrah!” He nailed the performance."- Lindsey Muth, Arizona Daily Wildcat
Arizona Daily Wildcat: "'Hamlet' actor read 'Macbeth' in first grade," Elizabeth Thompson, February 5, 2004
Arizona Daily Star: "Get thee to 'Hamlet' for ghostly tragedy," Kathleen Allen, February 27, 2004
BEST OF 2004, Theatrical Production
Tie: Urinetown, UApresents; Hamlet, Arizona Repertory Theater
"High concept: Glamorous young hero struggles with a corrupt leader, but personal flaws result in his falling splat on the stage at play's end. That's the short version of our readers' two favorite theatrical productions this past season. Urinetown-the touring version of the recent, provocative Broadway musical-spilled black humor, an updated Brecht/Weill sensibility and the occasional potty joke across the Centennial Hall stage. Hamlet got an outstanding production out of the UA's Arizona Repertory Theater, and even if you didn't see Urinetown, Nat Cassidy as Shakespeare's melancholy Dane was enough to make you wet your pants."
- Tucson Weekly
Metamorphoses
Arizona Repertory Theatre
October 2003
"Nat Cassidy is outstanding and often funny as King Midas."
- Lindsey Muth, Arizona Daily Wildcat
Tucson Weekly: "Wet n Wild," James Reel, October 16, 2003
"Particularly strong [was] Nat Cassidy, who strutted out as Midas with a huge cigar and arrogant, richer-than-thou air."
- Kathleen Allen, Arizona Daily Star
October 2003
"Nat Cassidy is outstanding and often funny as King Midas."
- Lindsey Muth, Arizona Daily Wildcat
Tucson Weekly: "Wet n Wild," James Reel, October 16, 2003
"Particularly strong [was] Nat Cassidy, who strutted out as Midas with a huge cigar and arrogant, richer-than-thou air."
- Kathleen Allen, Arizona Daily Star
Rumors
June-September 2003
"Nat Cassidy as Ken hits just the right notes of desperation without overplaying the part, and later, when his character is temporarily deafened, he moves smartly through a string of hoary routines in which he misunderstands everything people say, without becoming tiresome."
- James Reel, Tucson Weekly
Arizona Daily Wildcat: "What's all this about Rumors?" Linday Muth, September 4, 2003
"[Nominee for MAC Award for Best Actor, 2003] Nat Cassidy's totally neurotic and often befuddled lawyer in ART's production of Neil Simon's "Rumors" was priceless. . . . Understood the need for pristine timing and treating the perfectly silly situations with perfect seriousness."
- Kathleen Allen, Arizona Daily Star
"Nat Cassidy as Ken hits just the right notes of desperation without overplaying the part, and later, when his character is temporarily deafened, he moves smartly through a string of hoary routines in which he misunderstands everything people say, without becoming tiresome."
- James Reel, Tucson Weekly
Arizona Daily Wildcat: "What's all this about Rumors?" Linday Muth, September 4, 2003
"[Nominee for MAC Award for Best Actor, 2003] Nat Cassidy's totally neurotic and often befuddled lawyer in ART's production of Neil Simon's "Rumors" was priceless. . . . Understood the need for pristine timing and treating the perfectly silly situations with perfect seriousness."
- Kathleen Allen, Arizona Daily Star
A Midsummer Night's Dream
Arizona Repertory Theatre
April 2003
"Nat Cassidy played the dual role of Egeus, Hermia's father--a ridiculous old goat with an even more ridiculous wig--and the magical, impish, Pan-like Puck. Cassidy is wiry and flexible enough to tromp around gracefully in a pair of hooves as Puck, and he took genuine delight in wreaking havoc with the other characters. . . . Managed to wrest all that could possibly be funny out of his . . . character."
- Kathleen Allen, Arizona Daily Star
April 2003
"Nat Cassidy played the dual role of Egeus, Hermia's father--a ridiculous old goat with an even more ridiculous wig--and the magical, impish, Pan-like Puck. Cassidy is wiry and flexible enough to tromp around gracefully in a pair of hooves as Puck, and he took genuine delight in wreaking havoc with the other characters. . . . Managed to wrest all that could possibly be funny out of his . . . character."
- Kathleen Allen, Arizona Daily Star
The Spoilers
Cripple Creek, Colorado
June 2002
"First, the usual disclaimer about the melodrama offered in Cripple Creek: It's not the camp, mustache-twisting stuff you generally see. The production values are high (the company has strong ties to the University of Arizona's music theater program), with accomplished direction by Richard Hanson, evocative sets by Tom Benson and opulent costumes by Patricia Gawne and Renee Cloutier. The fight choreography is thrilling, and there are some marvelous low-tech special effects. As always, the Cripple Creek Players are well-prepared and well- matched. The stars of the 10-member cast are Nat Cassidy, who steals a couple of scenes as Flapjack Simms, and Emily Allen as local madam Pearl DeVere."
- Mark Arnest, The Gazette (Colorado Springs)
June 2002
"First, the usual disclaimer about the melodrama offered in Cripple Creek: It's not the camp, mustache-twisting stuff you generally see. The production values are high (the company has strong ties to the University of Arizona's music theater program), with accomplished direction by Richard Hanson, evocative sets by Tom Benson and opulent costumes by Patricia Gawne and Renee Cloutier. The fight choreography is thrilling, and there are some marvelous low-tech special effects. As always, the Cripple Creek Players are well-prepared and well- matched. The stars of the 10-member cast are Nat Cassidy, who steals a couple of scenes as Flapjack Simms, and Emily Allen as local madam Pearl DeVere."
- Mark Arnest, The Gazette (Colorado Springs)