" There's a blockbuster performance by Wayne Miller as William Jefferson - hillbilly, Slick Willy, charmer and vote getter." Beatrice Williams-Rude, www. theaterpizzazz.com
"The chemistry between Wright- Matthew and Miller is thrilling to witness..." Courtney Marie,
Mr. Miller’s fine voice and performance actually touches us with something human in an otherwise overwrought and off-putting political diatribe. Donna Herman,
Excerpts from critical reviews of Wayne Miller:
By a producer…
“I did take a few minutes to check your clips on YouTube (Pseudolous and Daddy Warbucks) - and it’s clear that you have all the skills necessary to be working on Broadway.” Bob Fraser
As a performer...
"Max is a loose cannon from which all the writers duck in turn.
His eccentricity knows no bounds. Frequently indisposed due
to an overabundance of liquor, medicinal vices and a terrible diet,
he is nonetheless subject to fits of hilarious brilliance. It's a credit
both to Simon's script and Wayne Miller's superlative performance
here that Max is such a larger-than-life character."
Staten Island Advance, reviewing Laughter on the 23rd Floor
" D.W.Griffith makes epics,' he explains. I just want to make the
world laugh." And that he does when he introduces the bumbling
Keystone Kops to America. Tightly woven into this chronicle of his
film career is the sub-plot of his relationship with Mabel, who
becomes the leading lady not only in his films, but also in his life.
Wayne Miller's portrayal of Sennett is superb. His rich tenor voice
is flawless, his timing for comedy right on the mark."
The Coast Star reviewing the Jerry Herman musical, Mack and Mabel
"Told in flashback, it recounts the tale of movie pioneer Mack Sennett's ever-shifting
fortunes through his long term, unrequited love affair with silent film star Mabel Normand.
Wayne Miller's egotistic Mack is suitably larger-than-life." Bob Coyne,
The Asbury Park Press reviewing the Jerry Herman musical, Mack and Mabel
"The spark plug to the rally was Wayne Miller as the street-tough, theatre-wise Julian
Marsh. Resembling a college football coach or Army drill instructor as much as a
Broadway director, Miller would burst on the stage to jump-start an anemic scene.
Overhearing Peggy Sawyer promising to the deposed Dorothy Brock to do her best,
Marsh barges in and bellows, 'Sawyer, your best isn't good enough. I want better than
your best!' Miller similarly breathes new life into all the old lines ('Sawyer, you're going out
a youngster, but you're coming back a star!')
James Louis Gardner,
Asbury Park Press reviewing the musical 42nd Street
"Wayne Miller makes a strong impression with his thoughtful performance as Georges,
the homosexual father. He gives the role great dimension, never slipping into obvious or
overworked mannerisms, and avoiding the trap of caricature completely."
The Asbury Park Press reviewing La Cage Aux Folles
"Caught in the middle of these two lovely ladies is Wayne Miller as Billy Flynn - Chicago's premier defense lawyer. Here is a part that seems tailor made for Miller's talents and he plays it to the hilt. Playing the lawyer like a circus pitch man, everything from his intonation to his patter is done perfectly, and Miller's version of 'Razzle Dazzle' - complete with some sleight of hand- is another show stopper.
Richard T. Ryan
The Staten Island Register reviewing Chicago
Appeared in the world premier reading of a new musical, Rock and a Hard Place. Book by Michael Ker,
Music and Lyrics by Sami Korneff....
Excerpts from critical reviews of Wayne Miller
as a director and designer:
“Experts on “To Kill A Mockingbird” say that outside of Harper Lee’s
hometown in Alabama, where the play is performed each May in
the Monroe County Heritage Museum’s courthouse, it might have
not been staged in a real courtroom before. “I know of no other,”
said Mary McDonagh Murphy, author of the forthcoming book
“Scout, Atticus, and Boo: A Celebration of Fifty Years of ‘To Kill a Mockingbird.’”
The New York Times writing about the site specific staging of To Kill A Mockingbird
“Once again, the Shakespearean has converted the gilded 1,800-seat movie palace’s large stage into a smaller theater by setting up chairs on the main expanse, installing a slightly raised smaller stage in the wing and drawing the curtain closed, blocking off the vast auditorium. The company tried it for a production of “The Diary of Anne Frank” in June. The intimate space works equally well this time as Miller, also the set designer, creates a realistic old watering hole. The three-walled set with a storefront window, full bar, and jukebox looks like an actual bar. Ultimately, “Yankee Tavern” is a scene worth exploring.”
Jodi Lee Reifer,
Staten Island Advance reviewing the NY Premier of Yankee Tavern
“Professional stage lighting brought into the courthouse for the show and incidental sound effects — mockingbird chirping among other noises — elevate the production’s sum even higher.”
Jodi Lee Reifer,
Staten Island Advance reviewing To Kill A Mockingbird
“Broadway has ‘CABARET”, off-off Broadway has ‘The Blue Angel’, a musical based on the 1930 Marlene Dietrich film…This ambitious production features almost 30 actors (many doubling and tripling up on roles) and a detailed set by Jamers Maronek that allows for easy changes among classroom, cabaret stage, and Lola Lola’s room. The lighting, by Wayne Miller, saturates the stage with a strong sangria color, creating a suitably garish feel.”
Backstage, The Performing Arts Weekly reviewing the new musical, The Blue Angel
“..And all the action takes place against the backdrop of Wayne Miller’s attractively rustic set. Miller, who also handled the lighting, has managed some pleasing effects in that area as well.”
The Staten Island Register reviewing Oklahoma!