Reviews

ALFREDO NARCISO

Press

NEW YORK TIMES:

"There are moving performances, particularly from Mr. Narciso, who is both defensive and contrite about Gary’s shortcomings." - David Rooney - THINNER THAN WATER (LAByrinth)

"The character who most wholly embodies the slipperiness Shakespeare explores in the play is probably Lucio (a subtly oily Alfredo Narciso), who delights in stirring almost every one of the plots with a soiled finger." - Charles Isherwood - MEASURE FOR MEASURE (TFANA)

“The company’s naked-soul acting is not without dividends…Alfredo Narciso presents what may be the play’s one genuinely contemporary portrait as the poet Oronte…” – Ben Brantley – MISANTHROPE (NYTW)

“[Fellow cast members] are pretty good; Mr. Narciso is better. His character, despite the dimwittedness, is the one you’re still pondering on the way home.” – Neil Genzlinger – SAFE (Studio Dante)

“…the charming Alfredo Narciso” – Jason Zinoman – ‘NAMI (Partial Comfort)

"the cast lights into the roles with gusto...the suitably handsome Mr. Narciso, in the central role, makes clear the various turning points in Lette’s journey from unpleasant self-awareness to psychological dislocation." - Charles Isherwood - THE UGLY ONE (Soho Rep/Play Co.)

"only two in the cast of six understand how to inhabit an absurd character...as Udi, Alfredo Narciso takes elements of an Eastern European accent, elements of effeminate elocution and some pronunciation rule that he seems to have mustered on his own and invents a new way to speak English. (In his lexicon, ''you'' becomes ''kavoo.'') The language is matched by his nutty costume...and a peculiar, exaggerated walk. The two are as odd a couple as you'll see on the stage, and the funniest moment in the show is when they put on an actual show; acting as actors, they speak without affect, in the mundane idiom of contemporary New Yorkers." - Bruce Weber - TRANSATLANTICA (Flea Theater)

TIME OUT NEW YORK:

"…the wonderful Alfredo Narciso…a preternaturally elegant cipher…His sweet-natured paralysis transcends melancholy to become charismatic absence, a portrait of damage that, unlike Monty’s real-life antecedents, cannot be ignored." - AFTER. (Partial Comfort)

NY PRESS:

"Narciso gives a textured performance...one of the New York theater scene's better-kept secrets..." - AFTER. (Partial Comfort)

"...Narciso, an actor of immense credibility and stage presence, can sell these monologues like Rumpelstiltsken spinning gold.." - RED DOG HOWLS (New York Theater Workshop)

NY MAGAZINE:

"Narciso is spectacular, an actor of prismatic nuance - he takes us from fearing him to fearing for him, and back again, in two nervous blinks." - AFTER. (Partial Comfort)

THEATREMANIA:

"Narciso is equally compelling in a less showy role, as much of his work is comprised of expository narration or reactive silences. Still, he imbues his performance with nuanced facial expressivity, charm and humor in line delivery, and other subtle mannerisms." - RED DOG HOWLS (New York Theater Workshop)

"Narciso delivers an exquisitely nuanced performance, conveying his character's pain and confusion mostly through subtle non-verbal expressions...a man of few words...when he does finally lash out verbally, it's incredibly powerful." - AFTER. (Partial Comfort)

"Narciso traverses Lette's journey from ordinary man to unwitting human status symbol with finesse. During the show's early scenes, Lette's disbelief that he has been a walking eyesore can be painfully touching thanks to Narciso's fine work, and by the time the play has ended, his ability to combine Lette's inherent goodness with a painful-to-bear arrogance is particularly satisfying." - THE UGLY ONE (Soho Rep/Play Co.)

BACKSTAGE:

"As Lette, handsome Alfredo Narciso is at first an island of reason amid all the shenanigans, which works greatly to the actor's advantage when Lette succumbs to self-importance and then later starts to come apart. (Narciso handles a breakdown scene in which Lette has a dialogue with his reflection in a mirror very effectively.)" - THE UGLY ONE (Soho Rep/Play Co.)

VILLAGEVOICE:

"Narciso, a fine and forceful actor, convey's Monty's confusion and alientation, anger and fear." - AFTER. (Partial Comfort)

MOXIE THE MAVEN:

"And Alfredo Narciso is a revelation (at least to me), and gives a hilarious and moving performance that will blow you away. See this play for them, they are the bomb." - DRUNKEN CITY (Playwrights Horizons)

TALKIN' BROADWAY:

"Alfredo Narciso (Giancarlo) is ideal as the brooding, lovelorn deep thinker..." - MIRACLE AT NAPLES (Huntington)

DAILY VARIETY:

"...a sweet slacker in Alfredo Narciso's appealing perf..." - THINNER THAN WATER (LAByrinth)

"Alfredo Narciso is one slippery charmer as Lucio, the most vicious gossip in the cannon."

- MEASURE FOR MEASURE (TFANA)

“Narciso's Nero manages to have charm as well as command, making him a believable ruler, even as he turns into the compliant son.” – BRITANNICUS (American Repertory Theatre)

“Alfredo Narciso possesses the right G.I. swagger and a reasonable measure of gallantry as the bantering bachelor Benedick. He proved to be humorously gullible when his buddies fabricate the dubious ardor of Beatrice. The eavesdropping scene is delightfully peppered with somersaults and comic pratfalls.”
– MUCH ADO ABOUT NOTHING (Princeton Rep. Shakespeare)

EDGE:

“…his cool machinations are given a human dimension in Alfredo Narciso’s spidery performance. His Nero has a sexy allure, but also an ugly brutality that makes him an ambivalent monster - he’s a seductive creep you fall for despite your better judgment.”
– BRITANNICUS (American Repertory Theatre)

EPOCH TIMES:

"...a hilariously sexy tango turn." - CASTING (EST Marathon)

NYTHEATRE.COM:

"The captivating and nuanced Alfredo Narciso." - RED DOG HOWLS (New York Theater Workshop)

"...inhabits Monty with uncanny specificity." - AFTER. (Partial Comfort)

"Alfredo Narciso makes the ultra-wound-up Bennett comprehensible to the audience, but never sympathetic; it's a terrific, uncompromising portrayal of a man driven not by evil but by ego to do terrible things." - MICROCRISIS (Ma-Yi)

“A particular revelation is Alfredo Narciso's work as Muzzy. Muzzy is the perpetual third-wheel, tailing along with Van and Ginger simply for their company. Muzzy is a frequent resident of mental hospitals, and Narciso brings the lightest of touches in shading his character with that history. He finds the warmth in this strange broken man.” – SAFE (Studio Dante)

“Alfredo Narciso (Marquez) and Mateo Gomez (Vargas) deliver expert performances in the first half, helping to wrap us into the intrigue and mystery that eventually unravels as the play moves forward.” – POINTS OF DEPARTURE (Intar)

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