Please click on a production to read reviews for that production. Use the scroll bar on the right hand side of your page to move up and down between reviews.

1. The Mikado

2. The Yeomen of the Guard

3. Iolanthe

4. The Merry Widow

5. Opera North

6. They'd none of 'em be missed.

7. Salad Days

8. After Life

9. Chicago concert

10. The Pirates of Penzance

11. Best of Gilbert and Sullivan Concert

12. Patience

13. Princess Ida

14. Gwyneth and the Green Knight

15. Die Fledermaus

16. The Parson's Pirates

17. The Marriage of Figaro

18. La Vie Parisienne

19. HMS Pinafore

20. The Tell-Tale Heart

21. The Duenna

22. Candide


1. The Mikado click to go back to menu

The Mikado, English National Opera, 2011

Camden New Journal (March 2011)

'Richard Suart has been Ko-Ko for all the ENO's Mikados - except for theinitial Eric Idle performances - and he's turned the part into a veritable tour de force, ending up kissing the Mikado's shoes when faced with his own beheading'

Opera (May 2011)

' unsavoury collection of comedy characters ler by Richard Suart as Ko-Ko, the Lord High Executioner. He's been perfecting his interpretation for 25 years, man and boy, and his little list is something not to be missed. This time it inluded the Ryanair boss Michael O'Leary, phone hacking journalists and Berlusconi's 'hunger for lots of bunga bunga'. Suart's patter is immaculate....'

Express (March 2011)

' is Richard Suart as Ko-Ko, the Lord High Executioner who really holds the whole show together. 

Suart has been playing this role for 20 years and has truly made it his own. He even writes his own lyrics each time for the song in which the executioner gives some of the names of the people on his little list for punishment. It has become usual to introduce an element of topicality into that song, but Suart's inclusion of Wayne Rooney, the head of Ryanair, Silvio Berlusconi, the invitees to the Royal Wedding and, best of all, the Speaker of the House of Commons (who can barely reach his seat) and his wife (wearing nothing but a sheet) made for a quite magnificent List. His acting too incorporated bits of Groucho Marx, Arthur Daley, Leslie Phillips and Frankie Howerd to brilliant effect'

Guardian (March 2011)

'No artist is more closely associated with Miller's staging than Richard Suart, whose Ko-Ko remains a masterpiece of comic invention: a crazed, abject creation vainly attempting to control proceedings even as they spiral ever more preposterously beyond his reach. His updated Little List takes swipes at several contemporary figures, from Berlusconi to coalitionists, and even the blamelessly ubiquitous Stephen Fry' (March 2011)

'Richard Suart is as mischievous, mordant, and mocking as ever. His updating of the little list proved a highlight, hitting the spot precisely because even easy targets were sent up with wit and generosity' (March 2011)

'Standing out for sheer energy amongst the principals was Richard Suart as Ko-Ko, the Lord High Executioner. Excellent diction in both his dialogue and arias made his character instantly accessible, but even more impressive was his comic timing, which he has down to a fine art. His rendition of 'I've got a little list', rewritten to cover topical issues, was delivered with great energy and panache, leaving the audience just enough time to process the humour before emerging with a new joke. In the original run of this production, the role was taken by Eric Idle, and whilst Suart has drawn some aspects from his interpretation, he injects another level of humour which is all his own' (March 2011)

'The Mikado is very much an ensemble piece and fortunately ENO fielded a very strong team of singers who (essentially for G&S) also had a real flair for acting - in particular Richard Suart's brilliantly funny Ko-Ko; a role he has sung in countless revivals of this production over the past 20 years and which he has quite deservedly made his own. Suart's physical acting and witty delivery of Gilbert's text was absolutely spot on; striking just the right balance between over-the-top Monty Python style eccentricity and farce - in fact, as Lord High Executioners go, I've never seen better. Possessing a pleasant light baritone, his diction was exemplary throughout and the leisurely tempo of the "Little List" ensured that none of the new jokes were lost on the enthusiastic audience. Suart himself composed this latest list (the most amusing one I've heard to date) which predictably included Middle Eastern dictators as well as other "society offenders" who "never would be missed" such as Ryanair boss Michael O'Leary, Wayne Rooney, the "Coalitionists" and of course Silvio Berlusconi'

Telegraph (March 2011)

'Richard Suart repeated his familiar Ko-Ko, with new verses to his little list including references to Vince Cable ('his wires are in a twist'), the Royal Wedding and Berlusconian bunga bunga. It's a very adept performance, which emphasises the character's craven cynicism and opportunism, but not a show-stopping one'

Whats On (March 2011)

'As Ko-Ko, Lord High Executioner and chief clown, the wonderful Richard Suart mugs and scenery-chews his way through yet another revival. His ever-changing list of society offenders is hilarious; but how could it not be, in these crazy times? First-night targets ranged from Wayne Rooney to Elton John, taking in Ryanair, Jacqui Smith and the Arab uprisings along the way. Who knows who'll be for the chop at the next performance? (Watch out, Ashley Cole...)'

Classical (February 2011)

'On hand to provide continuity for this ENO stalwart are "Mikado" veterans Richards Suart and Angas as Ko-Ko and the Mikado. Suart's Koko ranges from Groucho Marx, through Max Wall to Monty Python, with a huge range of tics, impersonations and accents. His 'little list' summarily deals with an impressive array of contemporary horrors - the Bercows, Middle-Eastern real-life lord high executioners, Jacqui Smith, bunga-bunga Berlusconi, Elton John and his instant family are all fingered - and he works the audience with manic glee' (February 2011)

'The old hand Richard Suart is marvellous as the snivelling Ko-Ko, whether he is acting the tennis playing twit, billiard shark buffoon or wretched white suited suitor'

Stage (February 2011)

'Eric Idle and Bill Oddie might seem hard acts to follow, but Richard Suart has been the face of Ko-Ko, Titipu's Lord High Executioner, for more than 20 years in Jonathan Miller's The Mikado for ENO. Despite - or because of - having given more than 150 performances of the role in various productions, Suart's comedy is so naturally bound into the character. Camp but not hammy, physical but not slapstick, he is the dynamo that drives the cast and his dialogue soars into the auditorium, combining the dry irony of Ronnie Corbett with the effortless suaveness of Leslie Phillips; with side-curls constantly flailing, his energy is boundless. His latest 'little list' of those who 'won't be missed' includes swipes at Wayne Rooney, Ryanair's Michael O'Leary and Silvio Berlusconi (in a rhyme deftly pairing 'hunger' with 'bunga bunga')'

The Arts (February 2011)

'Richard Suart's Ko-Ko is a creature honed over many years, and pitched just on the right side of hysteria. Doing violence to his vowels with the gusto of a drunken Boris Johnson, his convulsions of body and tongue are outdone solely by the satire of his self-penned Little List. The present incarnation features among its unlucky stars Wayne Rooney, Berlusconi (a rhyme of "hunger" and "bunga bunga" drew cheers), "those hacking journalists", and of course the newly ubiquitous "coalitionists"'


The Mikado, Usher Hall Edinburgh, 2010

Herald Scotland (December 2010)
'The cast, playing it to the hilt, powered this performance with a tour de force of character acting and singing by Richard Suart as Lord High Executioner at its core'

Edinburgh Evening News (December 2010)

'But it is Richard Suart as the elderly Ko-Ko who stands out. Ko-Ko's "Little List" of those who will not be missed is so up to date to include a "left-wing perjure-ist"'

The Mikado, ENO
Guardian Unlimited (February 2008)

'He gives a disciplined performance that explores every conceivable strategy for depicting Ko-Ko's infinite capacity for skin-saving self-humiliation. His "little list", incidentally, includes MP David Conway, Nigella Lawson and ENO's calamitous Kismet, though it will probably have changed by the next performance.'

The Mikado, ENO
Mail on Sunday (February 2008)

'Richard Suart's brilliant Ko-Ko. Got up like Charlie Chaplin, his characterisation is a masterly display of all the worst British character flaws, from arrogance to obsequiousness. He has made the role his own, and unlike the people on his little list, newly re-written for this revival, Suart really would be missed.'

The Mikado, ENO (February 2008)

'Richard Suart is an old hand at the role of Ko-Ko and once more brought considerable charisma and insight to the character, causing ripples of laughter for his re-writing of the 'Little List' song.'


The Mikado - 2006 ENO.

 'Richard Suart is a joy as Ko-Ko.'

John Amis - The Tablet.

'Suart has developed an entire gymnasium of contorted body language to express his guile, his anguish and his greed.'

Hilary Finch - The Times.

'For me at least Suart with his magnificent comic timing and walk, a combination of Groucho Marx and Max Wall, was the runaway star.'

Peter Gruner - Camden New Journal.

'Suart's Ko-Ko may be approaching the limit of how much hamming-up one role can take, but it's deservedly his show.'

Erica Jeal - The Guardian.

'Since Suart changes the names regularly, they may well be different at the next show. But what won't alter is the sheer quality and panache of his performance, which is a brilliantly sustained comic turn.'

George Hall - The Stage.

'The fineness with which it is all judged is encapsulated in Ko-Ko's famous list, here delivered with consummate panache by Richard Suart. I don't know who compiles the list of dispensables who 'won't be missed', but traditionally it is the singer himself. Suart is wonderful, taking the art of wincing to its limit, but knowing always where that is.'

Michael Tanner - The Spectator.

'As Ko-Ko, baritone Richard Suart is so puke-makingly humble you want him sent for mercy killing! With a face so cheesily smarmy he makes Rowan Atkinson look paralysed; he effortlessly steals the show. You want live self-abasement? Well, this guy has it - in spades! Why, every dominatrix in the audience - male and female - must have been gagging at the prospect of this text-book slave!'

Fraulein Sasha Selavie - Gay Times.


English National Opera at the London Coliseum.

"Suart turns in one of his best performances as Ko-Ko. G&S is his stock-in-trade, we know, but the energy and comic precision of what he does comes so naturally that you are simply not aware of its skill. He's a sharp mime and a sharp mimic (everything from Gordon Brown to Olivier's Richard III)..."

Edward Seckerson: The Independent 7 April 2004

"As for Richard Suart's Ko-Ko, what's left to be said? He must be the most manically inventive G&S exponent of our era. Indeed, his impersonation of Olivier playing Richard III is worth the price of admission by itself. But it was when he added "George W. Bush's poodle, whose name is Tony Blair" to Ko-Ko's wishful list of those "who won't be missed" that he brought the house down."

Richard Morrison: The Times 5 April 2004.


The Mikado for the Nationale Reisopera in Holland

"Richard Suart is de ideale operetteperformer..."

" Suart een entertainer van de eerste order."

"Voorop Richard Suart, een van Sullivans voornaamste profeten op aarde..."

de Volkskrant 22 March 2004


New York City Opera and ENO.

" Above all there is Richard Suart as Ko-Ko, delivering his long little list amply; Suart has developed the detail of his impersonation, performing with irresistible inventiveness, amazing physical contortions, and exact timing. Definitely an experience to catch".

London Evening Standard

" unusually able comic as Ko-Ko".

New York Daily News

"Ko-Ko was a fine singing comedian, Richard Suart, who moved as well as he patter-sang. funny throughout."

Classics to-day, USA

"The list was artfully delivered by Richard Suart in the role of Ko-Ko. Suart has made the role something of a speciality, and he frequently stole the spotlight from the surrounding leads."

Newsday, USA

"in the star part as Ko-Ko, guest artist Richard Suart landed his comic moments with style and wit"


"it has become a marvellously ornate interpretation, but most remarkable is the genuine modesty and economy with which Suart performs."

The Evening Standard

"..inimitable Ko-Ko..."

The Sunday Telegraph


D'Oyly Carte at the Savoy 2000, directed by Ian Judge.

" Richard Suart plays Ko-Ko in time-honoured fashion, a masterpiece of comic timing and diction."

The Times

"But it does have the immeasurable benefit of Richard Suart's presence as Ko-Ko. With years of Gilbert and Sullivan and opera experience, he gives a masterful, delightfully detailed performance, timed to perfection..."

The Stage


2. The Yeomen of the Guard click to go back to menu

Welsh National Opera

" ...and above all Richard Suart...a marvellously alert, lucid, not too tear-jerking
Jack Point".

The Independent

"At the centre of the performance stands Richard Suart's Jack Point. The melancholy Jester might be a gift of a role to a fine singing actor, but that in no way diminishes the imaginitive artistry lavished on it by Suart, whose interpretation, both in the larger view, and in the finer detail, is consummate".

Opera Now

"...Jack Point (Richard Suart) reminding one of a furrow-browed Ronnie Corbett..."

The Daily Telegraph


Opera Holland Park

"But the star of the show was Richard Suart, no stranger to the Merryman, 'moping mum', with beautifully timed comedy and mock pathos, hilariously capering with the Lieutenant, putting down the squawking peacocks with a gag, and even winning his race against the conductor's high-speed baton."

The Stage


3. Iolanthe click to go back to menu

Iolanthe, San Francisco Symphony
Mercury News (June 2009)

'The semi-staged production is appropriately frilly and silly, ludicrous and lovely. It boasts one fabulous performance, by baritone Richard Suart as the Lord Chancellor...The live wire is Suart, a British master of the G&S craft, whose flair and diction match Albert Finney and whose outlandishness brings Burt Lahr to mind, or John Cleese. As the Lord Chancellor, a lecher and pompous birdbrain of legalisms, Suart inhabits the full ridiculousness of the material. He is also the only cast member to put across the telegraph-fast syllabification of Gilbert's lyrics -- "Love, unrequited, robs me of rest" is virtually a Victorian rap -- with enough clarity to keep the words from becoming a blur'

Iolanthe, San Francisco Symphony
San Francisco Chronicle (June 2009)

'...the British baritone Richard Suart, whose long experience in this field enlivened his performance as the Lord Chancellor. Comic reflexes, linguistic agility and just enough tonal luster - these were his stock-in-trade, and he made the most of them'

London Philharmonic Orchestra and chorus/ Roger Norrington/ Festival Hall

" ...Richard Suart (The Lord Chancellor) has become the sine qua non of G & S in this country. Beware inferior substitutes".

The Independent on Sunday

"The star of the show was Richard Suart's well oiled and disingenuous Lord Chancellor, making an art form of physical uncoordination ... His virtuosic 'Nightmare' song - a compendium of every restless night you've ever endured - is Gilbert at his dazzling best. Suart didn't drop a stitch."

The Independent

"Richard Suart as The Lord Chancellor gave everyone a lesson in articulation and shaping a Joke".

The Times


International Gilbert and Sullivan Festival, Buxton.

" helps to have some of the best G & S performers around, and the audience was clearly hard put to it to award higher honours to Richard Suart for giving his wonderfully batty Lord Chancellor."

Manchester Evening News

" The evening was mostly Richard Suart's. His Lord Chancellor was fruity, laid-back, resourceful and shares with the great John Reed, indefinable charm."

Gilbert and Sullivan Society journal


Grange Park 2003

" Most outstanding of the generally admirable performances was that of
Richard Suart's tongue-tripping Lord Chancellor. His wily Scottish accent hinted at a
cross between Lord Irvine and Gordon Brown, and he projected his patter songs, from the Act 1 'When I went to the bar' to the spine-chilling Act 2 'Nightmare Song', in which bedclothes were interfered with by unseen fairies, with precise, punchy panache and not a lack of ad-lobbing."

Music and Vision


4. The Merry Widow click to go back to menu

Merry Widow, ENO
Financial Times (May 2008)

'Richard Suart comes close to walking off with the performance as a brilliantly funny Baron Zeta.'

The Merry Widow, English National Opera
Country Life (May 2008)

'Notable, too, were the Baron of the always impeccable Richard Suart...'


5. Opera North click to go back to menu

Paradise Moscow, Opera North at Bregenz Festival
Times (August 2009)

'Director David Pountney draws broad characters, Richard Suart's sleazy foreman, Barabashkin, stealing the show as he shoots back vodka and staggers to the toilet. That got a big guffaw from the Austrians'

Paradise w, Opera North
Times (April 2009)

'...practised comedy vigorously thumped home (Richard Angas and Richard Suart) the Cheryomushki "baddies"'

Let 'em Eat Cake, Opera North
Stage (February 2009)

'Highlights include Richard Suart's bumbling General Snookfield'

Let 'em Eat Cake, Opera North
Financial Times (February 2009)

'William Dazeley, Bibi Heal, Richard Suart and Steven Beard head a sparkling cast'

Of Thee I Sing, Opera North
Financial Times (October 2008)

'the scene-stealers are Steven Beard's vice-president and Richard Suart's French ambassador'

Of Thee I Sing, Opera North
Guardian (October 2008)

'Richard Suart's French ambassador provides a skilful vaudeville turn'

Of Thee I Sing, Opera North
Stage (October 2008)

'Strong performances from...Richard Suart as the impeccable French Ambassador'

Of Thee I Sing, Opera North
Times (October 2008)

'up pops the French Ambassador (Richard Suart, wafting clouds of outrageous franglais)'


6. They'd None of 'em Be Missed click to go back to menu

They'd None of 'em Be Missed, by Richard Suart & ASH Smyth
Book Review - The Stage (August 2008)

'Here's a source of innocent merriment to delight all G&S fans, particularly those of their most endearing creation The Mikado. This book, which at first sight is a simple celebration of the famous Little List song is, in fact, neither little nor a list. In format no bigger than a postcard, this 190-page, lavishly-illustrated book contains far more than a simple list of lists. Richard Suart, perhaps the finest patter-man in the business, together with his collaborator ASH Smyth, have produced an account of the history and development not only of the list, but also of the opera itself, placing it both in its time and examining how it has developed into an international favourite since its first outing in 1885. For example, Gilbert was well-known as being a stickler for attention to his words and stage directions - such was his legacy that it was a century before the first 'new' list reached the London stage. With one or two exceptions (such as the list written by Tim Rice for Cricketer Colin Cowdrey's memorial service or one decrying the behaviour of visitors to National Trust properties), the authors have not printed lists in full, but divided the book into sections. This gives a rather nice potted history of the last 25 years or so. For example, in a chapter dedicated to the Conservatives, we are reminded of how tired we were of them by 1997. No institution or individual from the monarchy to English national opera is exempt. Even the occasional member of the public makes the list. And this, perhaps, is the charm of the list and consequently this book - the list song can be adapted to suit virtually any circumstance. When handled with a combination of waspish wit and obvious genuine respect for the original, the result is a delightful couple of hours chortling to oneself.'


7. Salad Days click to go back to menu

Salad Days, Tête a Tête (November 2009)

'...drawing on his Gilbert and Sullivan background, Richard Suart's 'Cleopatra' was undoubtedly the best I have heard'

Salad Days, Tête a Tête
Whats on (November 2009)

'The cast is a good mix of musical theatre troupers and light opera names, with G&S patter specialist Richard Suart adding a touch of real class'


8. After Life click to go back to menu

After Life, Barbican, London
Classical (May 2010)

'Richard Suart as sad Mr Walter (who eventually identifies his one life-affirming memory) was particularly impressive'

After Life, Barbican, London
Independent on Sunday (May 2010)

'A fine performance from the singers and the impeccable Asko/Schönberg ensemble'

After Life, Barbican, London
The Arts (May 2010)

'Among the visitors it was Richard Suart's Mr Walter who really compelled one's attention, delivering a beautifully understated performance as the man contemplating, and ultimately managing to celebrate, his unextraordinary "so-so life"'

After Life, De Nederlandse Opera
Opera (January 2010)

'Mr Walter (a touching Richard Suart)'

9. Chicago concert click to go back to menu

G&S Concert, Grant Park Music Festival USA
Chicago Classical (July 2009)

'Guests Frances McCafferty and Richard Suart provided veteran Savoyard experience, manifest in their humour, pinpoint clarity and articulation...Suart's experience was manifest in the bracing clarity of his consummately nimble I am the very model of a modern Major-General,taken at a very fleet tempo. Suart brought down the house, or park, with his updated, Chicago-centric version of the Lord High Executioner's little list, with heat-seeking missiles launched at countertenors, tongue ring wearers, audience members' cellphones, Bernie Madoff, Berlusconi, Governor Blagojevitch, the Cubs and Sox, and Ravinia ticket prices'


10. The Pirates of Penzance click to go back to menu

D'Oyly Carte at the Queens Theatre

" Richard Suart is a splendid, batty Major-General..."

The Times

"Richard Suart, a natural successor to the great John Reed, patters astoundingly, and is gleefully funny..."

The Guardian


International Gilbert and Sullivan Festival, Buxton

"Richard Suart, who is making comic baritone roles his personal property, brought his Mr Pastry-ish style to Major-General Stanley ..."

Manchester Evening News


English National Opera, December 2004

"...above all, Richard Suart, the perfect purveyor of patter as the Major-General himself."

David Mellor - The Mail on Sunday

"...and Richard Suart's "modern" Major-General Stanley showed everybody up. He alone gave the old dialogue a lift; he alone filled the stage. And it needed filling, believe me."

Edward Seckerson - The Independent

"The cast needs every G&S pro it can lay its hands on, and it has one in Richard Suart's exemplary Major-General Stanley."

Richard Fairman - The Financial Times


11. Best of Gilbert and Sullivan Concert click to go back to menu

Winnipeg Symphony Orchestra, Cond. Bramwell Tovey. 

" Last night, Suart was back. And if you're a D'Oyly Carte historian, you needn't feel uncomfortable placing him in the company of Martyn Green and Sir Henry Lytton, Suart is that good. With consonants tripping along like a lithe hammer tapping away, a sly wink exactly placed, unbridled lechery suggested à la mode, Suart ruled every verse."

Winnipeg Free Press


12. Patience click to go back to menu 

International Gilbert and Sullivan Festival, Buxton.

" Richard Suart's Bunthorne is near perfect, in appearance a combination of Walter Crane.,Whistler, Charles Swinburne and Oscar Wilde. Suart is well aware that Bunthorne is the chap who tries too hard and fails, but doesn't care a hoot because he knows that tomorrow, he can begin the charade all over again. This man is a serial sham."

Gilbert and Sullivan Society Journal


13. Princess Ida click to go back to menu

International Gilbert and Sullivan Festival, Buxton.

" ...and the cast included Richard Suart as Gama, surely one of the few who could (and did) make an entertainment of the 'most disagreeable man'..."

Manchester Evening News


14. Gwyneth and the Green Knight click to go back to menu

Music Theatre Wales at the Linbury Studio, Covent Garden.

"That great singing actor Richard Suart is in his element with his similarly
craven Arthur..."

The Times


15. Die Fledermaus click to go back to menu

Diva Opera at Les Azuriales Festival, Cap Ferrat

"The production, by distinguished British baritone Richard Suart, who also played Frank, was a great success. His staging had the pace and wit that Glyndebourne's recent dim production conspicuously lacked.."

Sunday Express


16. The Parson's Pirates click to go back to menu

Opera della Luna at the Bridewell Theatre

"Richard Suart, the leading Savoyard of our day..."

The Stage


17. The Marriage of Figaro click to go back to menu

Garsington Opera

"...a glorious cameo performance from Richard Suart"

Oxford Times

" comic..."

The Times


18. La Vie Parisienne click to go back to menu

The D'Oyly Carte

" There's also a wonderful role for Richard Suart, the ENO's best Ko-Ko - a Brazilian millionaire throwing himself and money way over the top at passing fancies."

The Guardian


19. HMS Pinafore  click to go back to menu

Proms 2005

'Among the singers, much the best were....Richard Suart who made a splendidly fatuous Ruler of the Queen's Navee.'

Ivan Hewett - The Daily Telegraph

'Richard Suart as a veteran Sir Joseph Porter sang and acted everyone else off stage as an admirable Admiral.'

Hilary Finch - The Times.


20. The Tell-Tale Heart click to go back to menu

The Tell-Tale Heart, Royal Opera House
Opera (June 2011)

'Richard Suart was perfectly cast as the disturbed but charming Edgar'

All In London (April 2011)

'...first-class acting from Richard Suart as Edgar, whose rich Baritone and creepy presence thrills as only the best murder-mystery villains can'

Classical (April 2011)

'Richard Suart, presented as a near relation of Max Wall, did not disappoint as he went deliriously over-the-top as narrator and protagonist'

Evening Standard (April 2011)

'Richard Suart's Edgar - plummy as pudding and arch as Constantine - speak-sings through the narrative. It's like some Hammer-sponsored collaboration between Abdullah Ibrahim and Viv Stanshall'

Financial Times (April 2011)

'...Richard Suart is brilliant as the murderous, half-crazed Edgar'

Guardian (April 2011)

'In the Copeland, conducted by Robert Ziegler, Richard Suart was versatile and hideous as the narrator'

Independent (April 2011)

'Richard Suart's white faced, shock-headed, protagonist Edgar...Suart's sharp and insinuating enunciation occasionally took the vocal line into sung notes and phrases but mostly Copeland perpetuated the stentorian tone of melodrama underscoring it with a febrile piano and percussion led combo whose louche jazz inflections accentuated the sleaziness whilst slightly wrong-footing us musically' (April 2011)

'Baritone Richard Suart half-sings, half-talks his way through Copeland's rhythmic, repetitious score, leaping in and out of Soutra Gilmour's dark, dank set to both narrate and appear in his own tale'

Opera (April 2011)

'Richard Suart plays a blinder as Edgar (as here named, Poe's character is anonymous) going to and then over the edge'

Telegraph (April 2011)

'...the cast, led by Richard Suart's insidiously suave Edgar, emoted in an over-the-top, semi-spoken style'

Times (April 2011)

'Richard Suart gleefully plays the mad murderer, discarding his straightjacket to narrate his dismembering of a fellow lodger as a quick-fire recitation, like a deranged Rex Harrison'

The Duenna click to go back to menu

The Duenna, English Touring Opera, 2010

Opera (November 2010)
'Richard Suart makes a convincingly irascible Don Jerome'

Whats On (November 2010)

'Singing, speaking and acting are all of a high standard with Richard Suart a choleric Don Jerome as wrong-headed and peppery as his antiquated blunderbuss'

Guardian (October 2010)

'The problem is that few of them handle the dialogue effectively. An exception is Richard Suart, who can rely on his long experience of Gilbert and Sullivan for his turn as the curmudgeonly Don Jerome...'

Musical America (October 2010)

'English Touring Opera's production certainly had no lack of energy, and the company made a shrewd move in engaging the services of Richard Suart and Nuala Willis as Don Jerome and the Duenna, two old-timers with a rich line in comic acting. Suart's lively and highly physical performance fizzed from beginning to end...'

Stage (October 2010)

'If the plot sees the younger generation triumph, on stage it is the older performers who come out on top...Richard Suart is, if anything, even funnier as the splenetic, blustering father...well-known for his Gilbert and Sullivan patter roles, several of the cast have experience with D'Oyly Carte and it's striking how often The Duenna anticipates Gilbert and Sullivan in its rhythms and mood'

Telegraph (October 2010)

'...there are jolly performances from Richard Suart and Adrian Thompson as the old men'

The Arts (October 2010)

'It was the cast's more venerable members who dominated, to delicious effect. Richard Suart, in a pleasing composite of his Gilbert and Sullivan and Handel personas, was dangerously close to obliterating all in his comic path. A staggering, leaping, bewigged fantasy of an avaricious father, all gleeful self-congratulations and red-faced rants - "If a daughter you'll have she's the plague of your life"'


Candide click to go back to menu

Candide, Los Angeles Philharmonic, Hollywood Bowl, 2010

International Review of (September 2010)
' impressive line up of singers, the potential for a memorable evening seemed high. And it didn't take long for the potential to become reality....narrated with Gilbert & Sullivan panache by baritone Richard Suart (who also sang the roles of Pangloss and Martin)...Suart, superbly handling his difficult assignment of narration, acting and singing, kept the wildly twisting story arc alive'

Los Angeles Times (September 2010)

'Richard Suart, a Gilbert and Sullivan man from England, was the sharp-witted narrator and Pangloss, advocate of cockeyed optimism...Suart's narration engaged...his Gilbert and Sullivan expertise, along with dry humor, served him very well'

The Vancouver Sun (September 2010)

'...narrator Richard Suart on hand to suavely explain the convoluted plot and to portray the philosopher of Optimism Dr. Pangloss'

Variety (September 2010)

'Fortunately, this "Candide" had a vital center in British actor/singer Richard Suart, who served in a triple role - as narrator of the bizarre, swerving storyline; the mindlessly optimistic Dr. Pangloss; and his antithesis, Martin. Bernstein was a Gilbert and Sullivan fan, and incorporated much of their quick-witted style into his music for Pangloss and Martin - Suart, who happens to be an old hand at G&S, brought it out marvelously with his ironic, crystal-clear British diction'

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