MAC BRYDON

The cast is uniformly fine...Mac Brydon...as British ex pat Robert Pimm...is adroitly driven and enigmatic.

Mac Brydon as the slick, smug Pimm...expert performance

Talented, appealing Mac Brydon was wasted in the one-trick role of Fletch, Harpagon's flamboyantly gay servant.

..a very funny scene...his assistant Jack Valenti...shown handing toilet paper to Johnson so he could wipe his butt...

The standout in the company is Mac Brydon.

Mac Brydon had that sleazy charm of a Theatrical Manager. I could also see him as bookie in a Damon Runyon story.

Docksey (Mac Brydon)…takes time out to seduce and become moony-eyed over Dex's girlfriend Laney.

Mac Brydon's Edgar weaves his way masterfully through purpose and disguise, never leaving us wondering over his love and loyalty, even in feigned insanity.

a slick little thriller...Boal's dialogue is sharp throughout. A tirade through which...Pimm (Mac Brydon)...challenges Staats on a definition of the word "friend" is especially juicy. Indeed, the jeremiad leaps naturally from the characterization of Pimm...

The acting was outstanding, especially…Mac Brydon as Edgar.

The cast is first-rate with Mac Brydon and Laura Siner realistically portraying this doomed marriage.

…Brydon and Siner have formed a bond so strong...it seems like they're both at the center of the action, even when they're not. You can almost feel Brydon's eyes boring into Siner as Kirsten begs a neighbor for vanilla extract, for example; their work is really that connected.

…blessed with excellent actors in its leading roles…Brydon, whom I enjoyed in a production of Moonchildren, is even better here; he can act in a wonderfully intimate, naturalistic style and yet clearly project his character's emotions...when Brydon does let go, it's chilling.

...ridiculously high-strung boss, Adam Jacoby (Mac Brydon)...manic...high octane...

The actors...do splendid work under the direction of Austin Pendleton.

Mac Brydon . . . slimy . . . comically vile . . .

…with Mac Brydon offering a fine supporting turn...

. . . Brydon is fully functional at play's end

Zins and Brydon are a constant and witty fount of laughter...

Mac Brydon...delivers a truly bravura performance – one might even say a star turn - and deserves a special accolade.

...Brydon gets a lot of mileage out of Crouch, the caretaker...

...the sex-starved, goofy Dr. Hallemeier (Mac Brydon)...

the quixotic and darkly insinuating Mac Brydon...vibrant production...flawless acting...Actors Brydon and Tramont are superb...The ensemble work . . . is sharp, unexpected and devastating...must-see production

...several of the actors stand out in the ten-member cast...Mac Brydon as Democratic Senator Wayne Morse (described as the “not-so-loyal opposition”)

...He is joined by his close friend Banquo—played by the charming Mac Brydon...

Mac Brydon as Benedick aptly leads the show, turning in a wonderfully wry comic portrayal.

One of my favorite parts of the show, what brought some levity and humor, was the character Banquo (played by Mac Brydon) who was one of the show's saving graces, acting-wise. Unfortunately, the director cut his part down to nearly nothing. Brydon does a lot with what little role he has left, however.

Brydon and Pfister have a good chemistry together and great timing...very nice work with their Scottish accents...the chemistry among the three men is pretty strong...

a study in subtle, underplayed comic timing...The acting, too, is delightful.

...the play is well served by its cast...

The acting is spot on, especially with the two leads, Mac Brydon as Pimm and Ryan Tramont as Thomas.

Brydon's Gary proves a perfect foil...a money-obsessed fast talking fellow...a hoot, at once ridiculous and eerily plausible.

...the all-knowing bartender Sean MacGuire (Mac Brydon, a perfect calm center amidst the little dramas roiling around him)...

...she has a proper suitor in the equally-repressed Roger Doremus (Mac Brydon)...The cast is excellent...the members of Alma's book club are hilarious, with perfectly drawn characters that are exaggerated but never become caricature.

This excellent ensemble...play their roles extremely well...

...consistently crisp and witty performances...

as Benedick...Mr. Brydon...made a fantastic transition to the serious Benedick, who is deeply hurt by Claudio's actions...

The physical comedy worked best. Mac Brydon, returning late in a second role as Gus, a geriatric stage hand, has a lot of fun inching about in contortions of pain.

Brydon's utter physical ease and verbal dexterity made the audience instantly enamored of him.

The key to this production . . . was the energy of Brydon and Pfister. As two crooks on speed they were bouncing off the walls; the staff should have distributed sedatives with the programs . . . In addition to their lightning pacing, these actors seemed to have mastered the Scots dialect . . .

The play is worth seeing if only for Mac Brydon’s sharp, animated performance as Pimm. A role that could easily regress to all surface gestures and tells is held on compellingly even keel. The actor gives us a real sense of his character’s whirring mind. Tone is insidiously seductive. A pleasure to watch.

an invigorated interrogation...Mr. Brydon, the play's focus, with a least two-thirds of the dialogue...a sly character...appropriates a credible anxiety and intensity

The cast members (all game)...

The characters Dr. Hallemeier and Dr. Gall are the closest thing to a comedy team in R.U.R. - Mac Brydon and Kevin Bernard find enough dimensions in these two to keep these science geeks grounded, so that their undoing in the second act is all the more touching.

Mac Brydon as the abusive boss turned whipping boy...plays his character over the top - in a good way. The audience lapped up his scenes because he went full-tilt boogie with the material and seemed to be having a blast...

Mac Brydon is outstanding as Benedick…Mr. Brydon commands the stage with his presence and comic timing...his transformation from woman-hating bachelor to lovelorn suitor is enjoyable...Benedick’s metamorphosis from affirmed bachelor to prospective married man is hilarious…

Mac Brydon's understated performance as Bob works beautifully...

The piece is very well-acted. I especially enjoyed Mac Brydon...

Brydon's work was simply amazing. There is really no other way to put it. He was natural in everything he did...his Chevy-Chase/John Ritter-like physicality was reminiscent of the simple beauty of Dudley Moore hiding behind the flowers in the chapel in "10" - hilarious, believable, entertaining and FUN.

Brydon brings sharp comic timing to his wry portrayal of Roger Doremus, the mamma's boy and general dormouse of a man...he scurries to the loveseat & fans himself with a palm frond when confronted by his rival...a brilliantly funny moment of unspoken frustration...the funniest scene in the play...

Brydon’s portrayal of Jim is the strongest in the show...every time he speaks, it’s electric.

...Adam Jacobi (Mac Brydon) who is a fill-in-the-blank kind of maniac. He is a tyrant given to seizures of grandeur...crisp and on target...Brydon and Fryman leap off the Richter Scale...

Mac Brydon and Ian Pfister deliver remarkable performances.

Mac Brydon, as Abie, works hard to keep up his Noo Yawk accent...succeeding.

Austin Pendleton’s direction is masterful. He elicits tight, natural performances from actors playing characters who grow increasingly unnatural...Mac Brydon is delicious as Adam.

The show opens as Rollo meets with a theater manager, Abie Stein (Mac Brydon), to unfold plans for his debut. “ ‘Hamlet?’ ” says the skeptical Mr. Stein. “Do you think anyone wants to see it?

Mac Brydon . . . super-talented

It's such a pleasure to see theatre like this.

Mac Brydon as manager Abie Stein brings a bit of Damon Runyan to the mix with his over-the-top New York accent...

Pfister and Brydon...delightfully enthusiastic torturers...Spitting out rapid-fire dialogue and jumping around the theatre like manic five-year-olds with switchblades, Mac and Ian created an electric tension that made their performances among the most memorable to grace a New York stage this year…

...a scene in which Tom reduces his closeted, gay-baiting boss (Mac Brydon) to a simpering slave is priceless, its transitional exchange hilariously played by the two actors.