as SWEENEY TODD in SWEENEY TODD
“… Ben Davis' (Sweeney Todd) characterization and descent into madness may be the finest acting performance ever to darken The Muny Stage.”
-James Lindhorst, BroadwayWorld.com
”…Ben Davis brings a magnificent voice and a chilling stage presence to his superb portrayal of the title character.
-Gerry Kowarsky, HEC Media
as COSMO CONSTANTINE in CALL ME MADAM
"...Mr.Davis is a dream."
-Jesse Green, NY Times
"Davis' seductive baritone is swoon-worthy."
-Fran Scheck, The Hollywood Reporter
as CPT. VON TRAPP in THE SOUND OF MUSIC
"She is given a strong assist by Ben Davis as Captain von Trapp, and Brown as Mother Abbess. A musical theater veteran, Davis portrays von Trapp more as a grieving widow than a mindless martinet, making his character more relatable. His rendition of "Edelweiss" in the face of Nazi oppression registers warmly in the singer’s resounding baritone voice."
-Jordan Riefe, Hollywood Reporter
"Ben Davis changes Captain Von Trapp from the usual frosty man in need of a dose of humanity into a deeply human but deeply hurt widower who has retreated into a world he can control. Thus, the life which bounds from him when he opens up makes the show shimmer."
-Frances Baum Nicholson, Los Angeles Daily News
"Ben Davis makes a noticeably friendlier Captain, one I am even emboldened to call Georg. Yes, he is stern and awkward with his seven children, dressing them in sailor suits and treating them like a naval crew, but after a bit of pro-forma bluster, he is eager under Maria's influence to change his ways."
-Margaret Gray, LA Times
as CURLY in OKLAHOMA!
"A Tony winner from 2003 for his appearance in “La Boheme,” Ben Davis headlines this company as Curly. Davis is a performer of substantial presence on stage. His booming baritone is accented by his character’s over-the-top innocent charm. The moment he saunters onto the stage, Laurey doesn’t have a chance. Neither does the audience. Davis is one of The Muny’s finest leading men of recent years."
-Harry Hamm, CBS-St. Louis
"Oh, Ben Davis. He opens the show with a warm, supple delivery of “Oh, What a Beautiful Mornin’” and closes it by leading the ensemble in the vibrant rendition of the title song. Munygoers who remember his portrayal of Emile de Becque in “South Pacific” — and in particular, his haunting delivery of “This Nearly Was Mine” — won’t be surprised by his voice. But what a joy to hear it again!
But Davis is also a strong actor and dancer. In the iconic “Oklahoma!” choreography created by Agnes de Mille in 1943 — the choreography that Munygoers saw in the show’s 10 previous productions here — dancers stepped into the roles of Curly and Laurey for the “Dream Ballet.” Stroman changed that, and you can see why: Smith and Davis can do it all. They build coherent characters from start to finish, using all their performance tools."
-Judith Newmark, St. Louis Post - Dispatch
"Ben Davis delivers a winning performance, and his soaring and pleasant voice is heard to great effect on "Oh, What a Beautiful Mornin'," "People Will Say We're in Love," and "Poor Jud is Dead.""
-Chris Gibson, BroadwayWorld.com
"Dashing Ben Davis is a noble, supremely confident Curly, who has his eye on spunky farm girl Laurey (Christine Cornish Smith).
Davis commands the stage from the get-go with a sensational “Oh What a Beautiful Mornin’,” and blends beautifully with Smith’s crystal-clear vocals on “People Will Say We’re in Love.”"
-Belleville News-Democrat
"Curly (Ben Davis) sings the opening number “Oh What A Beautiful Mornin.’” Davis’ voice cannot be explained by any words other than blissful and magical. The sheer control in his vibrato shows his seasoned nature and many years of training and hard work."
-Denny Patterson, The Vital Voice
as FRED GRAHAM/PETRUCHIO in KISS ME KATE
"From America, Ben Davis and Alexandra Silber gave their leads just the spitfire character needed with roles spun from The Taming of the Shrew. Davis's vocal braggadocio often made a mike seem unnecessary."
-Geoff Brown, The Times (London)
"Petruchio himself, played by Ben Davis, took it all in good part. In his big show-stopping number Were Thine That Special Face, he had such an easy charm we knew Kate’s resistance would be futile."
-Ivan Hewitt, The Telegraph
"The bonus is that the principal roles, both played by American artistes, are vividly done. Ben Davis is all macho swagger as the bullying manager playing Petruchio and gets full value out of the innuendo of lines like "lovely Lisa … you gave a new meaning to the leaning tow'r of Pisa.""
-Michael Billington, The Guardian
as “EMILE DE BECQUE” in SOUTH PACIFIC
"Ben Davis is a younger Emile De Becque than we’re used to seeing, but he’s also the most sympathetic of them. It’s a little hard to grasp the love he develops for Nellie in such a short time, a love that changes his life. But because Davis is such a consummate actor with a voice that reminds us of John Raitt and Alfred Drake, we weep for him as Nellie flees his home at the thought of being involved with a man so foreign to her way of life."
-June LeBell, YourObserver.com
"Just watch Ben Davis as Emil De Becque when he sings “Some Enchanted Evening” to Nellie Forbush. You see a man so lovestruck that he has to sing about it, and he carries us along. And with that rich voice singing the beautiful melody, who wouldn’t fall in love?"
-Jay Handelman, Sarasota Herald-Tribune-
"Playing Emil is Ben Davis, who last year played Gaylord Ravenal inShow Boat. I am astounded at his ability to go from last year's high baritone, possibly even tenorish, part to the deep bass-baritone required here. The part is often cast from the world of opera. Mr. Davis' singing is rich and full in his two solos, "Some Enchanted Evening" and "This Nearly Was Mine." Coming more from musical theater, his acting is equally strong."
-William S. Oser, TalkinBroadway.com-
"Another huge plus is her marvelous co-star, Ben Davis. When he sings “This Nearly Was Mine” in a voice as rich and deep as sapphires, he seems to be telling each member of the audience how much love can hurt. Such an intimate confession should make no sense in a big theater. But Davis seems to be talking to you, and you alone. It’s a breathtaking delivery of one of the most beautiful songs in the show..."
-Judith Newmark, St. Louis Post-Dispatch
"Except Emile is anything but stuffy in this production. As producer Mike Isaacson explains in his introductory notes, the idea was to bring some heat to the love story with a younger-than-called-for Emile. Davis, dashing and improbably tall on the Muny stage, ascends into the opening notes of "Some Enchanted Evening" and his sonorous baritone burnishes the cloying song till it's a molten flow of love and hope washing over Nellie. The two stand hand-in-hand at the end, and the expansive Muny stage is somehow still and intimate, a tiny bower hidden in some springtime field."
-Paul Friswold, Riverfront Times
as "Brom Broeck" in KNICKERBOCKER HOLIDAY
"But the hero of the evening is Ben Davis, as Brom. A man whose credits range from "The Magic Flute" to "Thoroughly Modern Millie," Davis gives a rough-hewn, aw-shucks performance that's pretty nigh perfect, while his singing is impeccably phrased and equally at home in the varied styles. When Davis and Kelli O'Hara soar together on "It Never Was You," well, that's pretty much my definition of nirvana."
-Erik Haagensen, Backstage.com
"Davis uses his rich baritone to exquisite effect throughout, even as he captures both Brom's hotheadedness, which lands him in prison, and easygoing charm."
-Andy Propst, Theatermania.com-
"Not long after the early love duet "It Never Was You" began, and Ben Davis' baritone started to swim in a swirling orchestral accompaniment, I was transported, and by the time the priceless Kelli O'Hara chimed in, I was somewhere in the stratosphere (is this what "over the moon" means?). I think the last time I was as transported by a song performed live, it was "J'attends un navire," also by Mr. Weill, sung by the operatic mezzo Stephanie Vlahos about a foot from my ear at the Gardenia in L.A. about 15 years ago."
-Andy Propst, Theatermania.com-
"Her (Kelli O’Hara) duet of "It Never Was You" with Ben Davis was just magnificent. I know I should not say this but I do hope someone was there with a taperecorder last night..."
"Whenever I see a good-looking, great-sounding baritone like this I lament that our musical theater no longer has any use for them -- one might chronicle the decline of American culture in the disappearance of roles that were once a mainstay in the musical theater. Brian Stokes Mitchell, Paulo Szot only come to our attention in revivals. The robust, heroic characters they play no longer get written. Ah, well, some other time."
-Howard Kissel, The Huffington Post
as "Sir Galahad" in SPAMALOT
"Ben Davis is one of the funniest Sir Galahads on record, part surfer boy, part Knight of the Round Table, deliciously amusing and always on target."
-Richard Ouzounian, Toronto Star
"And the characters of the fey Sir Herbert (Christopher Sutton) and Herbert’s gruff father (Ben Davis) are inspired absurdist creations who concentrate madly on their goals."
-Colin Thomas, Vancouver Straight
as “Older Patrick” in, MAME, AT THE HOLLYWOOD BOWL
"Another outstanding turn was offered by Ben Davis as adult Patrick. Davis, who rendered "My Best Girl" superbly, had the finest voice in the show. A relatively minor character in Pasadena Playhouse's "110 in the Shade" and supporting player here, his acting and vocal talents stir the request, "Give this man a star-making role." He even brought conviction to the show's implausible, contrived character switch, which required him to become a snob and temporarily embrace bigoted fiancee Gloria (Jennifer Hall) and her prejudiced parents, Mr. and Mrs. Upson (Alan Thicke and Edie McClurg)."
-Joel Hirschhorn, Variety
as “File” in, 110 IN THE SHADE, AT THE PASADENA PLAYHOUSE
"Director David Lee's casting pulls off one strong improvement over previous versions, particularly the film, by making Sheriff File a worthy romantic opponent. In place of the picture's colorless Wendell Corey, we have Davis. His singing was one of the glories of Baz Luhrmann's "La Boheme," and he sings here with equal richness. Davis' renditions of "Why Can't They Leave Me Alone?" and duet "A Man and a Woman" are among the show's highlights."
-Joel Hirschhorn, Variety
"…Davis' diffident sheriff boast a disarming mix of vocal virility and emotional vulnerability, in varying proportions."
-Ron Kendt, LA Times
as “Marcello” in BAZ LUHRMANN’S, LA BOHEME
"The men in particular are lively actors, like Ben Davis, the hearty, fair-haired baritone who sings Marcello."
-Anthony Tommasini, NY Times
“… Ben Davis' (Sweeney Todd) characterization and descent into madness may be the finest acting performance ever to darken The Muny Stage.”
-James Lindhorst, BroadwayWorld.com
”…Ben Davis brings a magnificent voice and a chilling stage presence to his superb portrayal of the title character.
-Gerry Kowarsky, HEC Media
as COSMO CONSTANTINE in CALL ME MADAM
"...Mr.Davis is a dream."
-Jesse Green, NY Times
"Davis' seductive baritone is swoon-worthy."
-Fran Scheck, The Hollywood Reporter
as CPT. VON TRAPP in THE SOUND OF MUSIC
"She is given a strong assist by Ben Davis as Captain von Trapp, and Brown as Mother Abbess. A musical theater veteran, Davis portrays von Trapp more as a grieving widow than a mindless martinet, making his character more relatable. His rendition of "Edelweiss" in the face of Nazi oppression registers warmly in the singer’s resounding baritone voice."
-Jordan Riefe, Hollywood Reporter
"Ben Davis changes Captain Von Trapp from the usual frosty man in need of a dose of humanity into a deeply human but deeply hurt widower who has retreated into a world he can control. Thus, the life which bounds from him when he opens up makes the show shimmer."
-Frances Baum Nicholson, Los Angeles Daily News
"Ben Davis makes a noticeably friendlier Captain, one I am even emboldened to call Georg. Yes, he is stern and awkward with his seven children, dressing them in sailor suits and treating them like a naval crew, but after a bit of pro-forma bluster, he is eager under Maria's influence to change his ways."
-Margaret Gray, LA Times
as CURLY in OKLAHOMA!
"A Tony winner from 2003 for his appearance in “La Boheme,” Ben Davis headlines this company as Curly. Davis is a performer of substantial presence on stage. His booming baritone is accented by his character’s over-the-top innocent charm. The moment he saunters onto the stage, Laurey doesn’t have a chance. Neither does the audience. Davis is one of The Muny’s finest leading men of recent years."
-Harry Hamm, CBS-St. Louis
"Oh, Ben Davis. He opens the show with a warm, supple delivery of “Oh, What a Beautiful Mornin’” and closes it by leading the ensemble in the vibrant rendition of the title song. Munygoers who remember his portrayal of Emile de Becque in “South Pacific” — and in particular, his haunting delivery of “This Nearly Was Mine” — won’t be surprised by his voice. But what a joy to hear it again!
But Davis is also a strong actor and dancer. In the iconic “Oklahoma!” choreography created by Agnes de Mille in 1943 — the choreography that Munygoers saw in the show’s 10 previous productions here — dancers stepped into the roles of Curly and Laurey for the “Dream Ballet.” Stroman changed that, and you can see why: Smith and Davis can do it all. They build coherent characters from start to finish, using all their performance tools."
-Judith Newmark, St. Louis Post - Dispatch
"Ben Davis delivers a winning performance, and his soaring and pleasant voice is heard to great effect on "Oh, What a Beautiful Mornin'," "People Will Say We're in Love," and "Poor Jud is Dead.""
-Chris Gibson, BroadwayWorld.com
"Dashing Ben Davis is a noble, supremely confident Curly, who has his eye on spunky farm girl Laurey (Christine Cornish Smith).
Davis commands the stage from the get-go with a sensational “Oh What a Beautiful Mornin’,” and blends beautifully with Smith’s crystal-clear vocals on “People Will Say We’re in Love.”"
-Belleville News-Democrat
"Curly (Ben Davis) sings the opening number “Oh What A Beautiful Mornin.’” Davis’ voice cannot be explained by any words other than blissful and magical. The sheer control in his vibrato shows his seasoned nature and many years of training and hard work."
-Denny Patterson, The Vital Voice
as FRED GRAHAM/PETRUCHIO in KISS ME KATE
"From America, Ben Davis and Alexandra Silber gave their leads just the spitfire character needed with roles spun from The Taming of the Shrew. Davis's vocal braggadocio often made a mike seem unnecessary."
-Geoff Brown, The Times (London)
"Petruchio himself, played by Ben Davis, took it all in good part. In his big show-stopping number Were Thine That Special Face, he had such an easy charm we knew Kate’s resistance would be futile."
-Ivan Hewitt, The Telegraph
"The bonus is that the principal roles, both played by American artistes, are vividly done. Ben Davis is all macho swagger as the bullying manager playing Petruchio and gets full value out of the innuendo of lines like "lovely Lisa … you gave a new meaning to the leaning tow'r of Pisa.""
-Michael Billington, The Guardian
as “EMILE DE BECQUE” in SOUTH PACIFIC
"Ben Davis is a younger Emile De Becque than we’re used to seeing, but he’s also the most sympathetic of them. It’s a little hard to grasp the love he develops for Nellie in such a short time, a love that changes his life. But because Davis is such a consummate actor with a voice that reminds us of John Raitt and Alfred Drake, we weep for him as Nellie flees his home at the thought of being involved with a man so foreign to her way of life."
-June LeBell, YourObserver.com
"Just watch Ben Davis as Emil De Becque when he sings “Some Enchanted Evening” to Nellie Forbush. You see a man so lovestruck that he has to sing about it, and he carries us along. And with that rich voice singing the beautiful melody, who wouldn’t fall in love?"
-Jay Handelman, Sarasota Herald-Tribune-
"Playing Emil is Ben Davis, who last year played Gaylord Ravenal inShow Boat. I am astounded at his ability to go from last year's high baritone, possibly even tenorish, part to the deep bass-baritone required here. The part is often cast from the world of opera. Mr. Davis' singing is rich and full in his two solos, "Some Enchanted Evening" and "This Nearly Was Mine." Coming more from musical theater, his acting is equally strong."
-William S. Oser, TalkinBroadway.com-
"Another huge plus is her marvelous co-star, Ben Davis. When he sings “This Nearly Was Mine” in a voice as rich and deep as sapphires, he seems to be telling each member of the audience how much love can hurt. Such an intimate confession should make no sense in a big theater. But Davis seems to be talking to you, and you alone. It’s a breathtaking delivery of one of the most beautiful songs in the show..."
-Judith Newmark, St. Louis Post-Dispatch
"Except Emile is anything but stuffy in this production. As producer Mike Isaacson explains in his introductory notes, the idea was to bring some heat to the love story with a younger-than-called-for Emile. Davis, dashing and improbably tall on the Muny stage, ascends into the opening notes of "Some Enchanted Evening" and his sonorous baritone burnishes the cloying song till it's a molten flow of love and hope washing over Nellie. The two stand hand-in-hand at the end, and the expansive Muny stage is somehow still and intimate, a tiny bower hidden in some springtime field."
-Paul Friswold, Riverfront Times
as "Brom Broeck" in KNICKERBOCKER HOLIDAY
"But the hero of the evening is Ben Davis, as Brom. A man whose credits range from "The Magic Flute" to "Thoroughly Modern Millie," Davis gives a rough-hewn, aw-shucks performance that's pretty nigh perfect, while his singing is impeccably phrased and equally at home in the varied styles. When Davis and Kelli O'Hara soar together on "It Never Was You," well, that's pretty much my definition of nirvana."
-Erik Haagensen, Backstage.com
"Davis uses his rich baritone to exquisite effect throughout, even as he captures both Brom's hotheadedness, which lands him in prison, and easygoing charm."
-Andy Propst, Theatermania.com-
"Not long after the early love duet "It Never Was You" began, and Ben Davis' baritone started to swim in a swirling orchestral accompaniment, I was transported, and by the time the priceless Kelli O'Hara chimed in, I was somewhere in the stratosphere (is this what "over the moon" means?). I think the last time I was as transported by a song performed live, it was "J'attends un navire," also by Mr. Weill, sung by the operatic mezzo Stephanie Vlahos about a foot from my ear at the Gardenia in L.A. about 15 years ago."
-Andy Propst, Theatermania.com-
"Her (Kelli O’Hara) duet of "It Never Was You" with Ben Davis was just magnificent. I know I should not say this but I do hope someone was there with a taperecorder last night..."
"Whenever I see a good-looking, great-sounding baritone like this I lament that our musical theater no longer has any use for them -- one might chronicle the decline of American culture in the disappearance of roles that were once a mainstay in the musical theater. Brian Stokes Mitchell, Paulo Szot only come to our attention in revivals. The robust, heroic characters they play no longer get written. Ah, well, some other time."
-Howard Kissel, The Huffington Post
as "Sir Galahad" in SPAMALOT
"Ben Davis is one of the funniest Sir Galahads on record, part surfer boy, part Knight of the Round Table, deliciously amusing and always on target."
-Richard Ouzounian, Toronto Star
"And the characters of the fey Sir Herbert (Christopher Sutton) and Herbert’s gruff father (Ben Davis) are inspired absurdist creations who concentrate madly on their goals."
-Colin Thomas, Vancouver Straight
as “Older Patrick” in, MAME, AT THE HOLLYWOOD BOWL
"Another outstanding turn was offered by Ben Davis as adult Patrick. Davis, who rendered "My Best Girl" superbly, had the finest voice in the show. A relatively minor character in Pasadena Playhouse's "110 in the Shade" and supporting player here, his acting and vocal talents stir the request, "Give this man a star-making role." He even brought conviction to the show's implausible, contrived character switch, which required him to become a snob and temporarily embrace bigoted fiancee Gloria (Jennifer Hall) and her prejudiced parents, Mr. and Mrs. Upson (Alan Thicke and Edie McClurg)."
-Joel Hirschhorn, Variety
as “File” in, 110 IN THE SHADE, AT THE PASADENA PLAYHOUSE
"Director David Lee's casting pulls off one strong improvement over previous versions, particularly the film, by making Sheriff File a worthy romantic opponent. In place of the picture's colorless Wendell Corey, we have Davis. His singing was one of the glories of Baz Luhrmann's "La Boheme," and he sings here with equal richness. Davis' renditions of "Why Can't They Leave Me Alone?" and duet "A Man and a Woman" are among the show's highlights."
-Joel Hirschhorn, Variety
"…Davis' diffident sheriff boast a disarming mix of vocal virility and emotional vulnerability, in varying proportions."
-Ron Kendt, LA Times
as “Marcello” in BAZ LUHRMANN’S, LA BOHEME
"The men in particular are lively actors, like Ben Davis, the hearty, fair-haired baritone who sings Marcello."
-Anthony Tommasini, NY Times