QUOTED REVIEWS

"Robert Ariza played Marius and has a wonderful singing voice." -Jimmy "The Saint" Christopher, KRLD.RADIO.COM

"The Tuesday evening show included performances by Robert Ariza and Talia Simone Robinson as understudies for Marius and Eponine respectively. The pair brought a shared earnestness to their roles and both had no problem doing them justice." -Melissa Hall, STAGEWRITEINDY.BLOGSPOT.COM

"Singing with both women, the pop-inflected style of Robert Ariza as Marius makes for a spine-tingling Act II trio." -Lindsay Chirstians, MADISON.COM  

"Jillian Butler as Cosette doesn’t get quite the same opportunities until late in the show, but her love-at-first-sight Marius (Robert Ariza) displays a large dynamic and expressive range of the principal characters." -​Greg Hettmansberger, WHATGREGSAYS.WORDPRESS.COM

"First of all, the performers vocals were absolutely spectacular, especially those of Josh Davis (Javert) in 'Stars,' Nick Cartell (Valjean) in 'Bring Him Home,' Talia Simone Robinson (Eponine) 'On My Own,' Matt Shingledecker (Enjolras) in 'Do You Hear The People Sing,' Robert Ariza (Marius) in 'Empty Chairs at Empty Tables,' and Jillian Butler (Cosette) in 'Castle On A Cloud.' I was absolutely transfixed by their interpretations of these Boubil & s Schönberg songs, many of which have become iconic." -Tom Alvarez, TOMALVAREZ.STUDIO

"The students of the revolution — led by Matt Shingledecker’s passionate Enjolras and Robert Ariza’s love-stricken Marius — struck a believable balance between being a revolutionary group of brave, idealistic young men and fearful, unsure circle of boys. After a heart-wrenching battle sequence, each of the young men lay dead, sprawled across the barricade, in near silence — a moment that was one of the show’s most powerful." -Kelli Arseneau, MARQUETTEWIRE.ORG

"We're introduced to characters like Marius (Tuesday night played flawlessly by understudy Robert Ariza) and his best friend Eponine (Phoenix Best) who is secretly in love with him." - MLIVE.COM 

"Robert Ariza is fiery without being overblown, authoritatively grabbing the microphone stand and driving cynical numbers about Evita’s fake populism and empty promises. [...] Musical director Christopher Youstra’s seven-piece ensemble delivers plenty of propulsive rock and tango rhythms. Ariza fully plugs into that energy." -Nelson Pressley, WASHINGTONPOST.COM

"Here Robert Ariza is just stunning in this complicated role. He guides us through the life of Eva's story in a charming but suspect way. He gives this Che a much more rock and roll feel to his character than Mandy Patinkin ever did and it works. This is especially seen in a number borrowed from the 1996 film "The Lady's Got Potential"." -Charles Shubow, BROADWAYWORLD.COM

"In this production, Che is performed by the extremely talented Robert Ariza, who has a powerful, gentle tenor voice and easily commands the stage, whether he is singing with Evita or leading the whole ensemble. His "High Flying Adored" is particularly noteworthy." -Barbara Mackay, THEATERMANIA.COM

"But at Olney, Robert Ariza – in the production’s best performance -- offers a distinctive take on this character.  [...] 

Ariza also deepens this angry, cynical character by giving him some divided loyalties. Heated as his denunciation of Evita may be, he sheds a tear at her death at the end. [...]

Ariza’s singing is as strong and assured as his delivery of Che’s sly commentary; in the “Rainbow Tour” number, he puts extra emphasis on his description of Evita as her husband’s “trump card.” And, he aces an added song, “The Lady’s Got Potential,” a rock-and-roll number borrowed from the 1996 movie." -J. Wynn Rousuck, WYPR.ORG

"In my view, however, the best performance is given by Robert Ariza as Che. [...] Mr. Ariza is onstage a vast majority of the time and performs in all but a few of the show’s musical numbers though never as a solo. He possesses a flawless baritenor voice that because of the required workload, his vocals must stay strong throughout.  And they do.  When called on to dance, he does so very effectively.  Mr. Ariza with his energy and strength commands the stage throughout the production." -Steve Charing, MDTHEATREGUIDE.COM

"Before the first note is sung, Che (Robert Ariza) enters the theater, and it is so silent one could hear a pin drop. [...]

Ariza sings the chilling, intense “Requiem” in a deep, rich voice, joined by Juan Perón (Nick Duckart). Ariza sarcastically describes the ironies of Eva Peron’s life in “Oh What a Circus.” Ariza’s Che loathes Evita, as is clear from his clenched teeth, tense stance, and snake-like eyes." -Danielle Angeline, DCMETROTHEATERARTS.COM

"Robert Ariza makes a totally believable Che with his wiry frame and coiled energy reminiscent of Bruce Springsteen, telegraphing that this watchdog never sleeps.  His singing can get that authentic rock gravel in “The Lady’s Got Potential” to the bitter bite with which he builds his case in the second act in songs like  “And the Money kept Rolling In.”" -Susan Galbraith, DCTHEATRESCENE.COM

"Robert Ariza is especially deft and engaging as the Che character, who’s often seen as an ironic, satiric observer of Evita’s rise to power. Here, he’s more of a ringmaster, a kind of “Cabaret”-like host for the proceedings, with a biting critique but also undisguised admiration for his heroine." -Gary Tischler, GEORGETOWNER.COM

"A minimalist presentation characterizes the play,and the real star is not "Evita" but "Che" (Robert Ariza) the narrator who monopolizes the stage. It is no surprise that Ariza claims Broadway and Helen Hayes awards. His muscular, strong performance, under director Will Davis' tutelage, is daunting." -Patricia Leslie, WASHINGTONSPEAKS.COM

"Ariza and Lake's compelling performances are complemented by the strong cast [...] Escaping the reformatory to which he's been sent, recognizing the loss of family and friends, he still affirms a better vision of society – a final scene that Ariza renders exquisitely." -Barbara Adams, ITHACAJOURNAL.COM

"Robert Ariza, twenty-four, brings naked vocal purity toThe Mikado's "A wandering minstrel, I," "Something's Coming," from West Side Story, and Kander and Ebb's cross-dressing ode, "She's a Woman," from Kiss of the Spiderwoman." -Barry Singer, OPERANEWS.COM

© 2014 by Robert Ariza  
 

  • Facebook Classic
  • Instagram App Icon
  • YouTube App Icon
  • Twitter Social Icon
This site was designed with the
.com
website builder. Create your website today.
Start Now