REVIEWS FOR ZACH'S DEBUT VISUAL ALBUM
CALL OUT
“Just when I think we’ve reached the limits of what can be accomplished in the pandemic’s virtual isolation, something new comes along to surprise me. Bass-baritone Zachary James’s protean talents are known to cross popular musical theater (he created Lurch in The Addams Family on Broadway) and opera (notably in the Met’s Akhnaten); now, James also shows himself to be an accomplished video artist...the level of visual imagination and polish is astonishing...the sheer luxe-ness of the project is jaw-dropping...Call Out is an ample demonstration of Zachary James’ many talents—and an inspiring example of the artistic light that can be generated even when our theaters are temporarily dark.”
PARTERRE BOX
“What was Zachary James thinking? Amid a raging pandemic, the star of stage and screen embarked on a wild, exhausting four-month-long intensive project to produce “CALL OUT,” a visual album that takes the audience on a trip into the bass-baritone’s imagination...He wasn’t thinking outside the box, that’s for certain. No, he broke the box down and put it out to the curb for recycling....“CALL OUT” has received multiple awards, international film festival selections, and gushes of praise from the music press. The lasting effects on the industry, reeling from the devastation of the pandemic, could be profound as more artists follow, unafraid of the repercussions...An A-lister thumbing his nose at accepted norms may serve as a catalyst and inspiration to others in the industry while also growing opera’s fan base. And, for music fans who think opera singers can’t sing anything outside the genre convincingly, “CALL OUT” pokes holes in that misconception, too...James’ body of work, in and outside the opera industry, removes the limiting factor through his enviable, wide-ranging fan base born of an unwillingness to be hemmed in by any medium or genre. Those who know him understand that Zachary James is Zachary James; he’s curious and brave, requisite traits for an artist whose vision was to convert a Carnegie program into a carnival of the mind...“CALL OUT” is a new chapter in James’ journey as an artist. The 98-minute trip akin to The Beatles’ “Yellow Submarine,” Prince’s “Purple Rain,” and other notable visual albums, is a combo of rollicking fun and self-revealing moments. It’s a well-planned, lovingly curated, and brilliantly executed mash-up that’s exciting and intelligent...Trust me, it’s all worth watching.”
OPERA WIRE
“mind-blowing feats of indulgent insanity”
“you’ll be transfixed from start to finish”
“so much more than a soundscape as you embrace the chaos, imagination and cinematic style”
A&R FACTORY
“The direction that opera needs to go”
“Cinematic, very theatrical, multi-media”
“This is the type of art I’m willing to sit down and watch on my computer”
OPERA BOX SCORE
“Zachary James is the definition of using one’s platform to support and uplift other artists with his brand new visual album CALL OUT”
NBC10 PHILADELPHIA
REVIEWS FOR ZACH AS AMENHOTEP III IN
AKHNATEN
THE METROPOLITAN OPERA 2019
"Anthony Roth Costanzo, Zachary James Lead The Best Met Production of the Year...Perhaps the most powerful performance of the night came from Zachary James in his Met Opera debut. He didn’t get to “sing,” but he appeared throughout to provide the opera’s many transitional narrations as the Scribe. But instead of a random narrator, this production kept James in his outfit as Amenhotep III throughout, emphasizing the dead rulers continued presence throughout his son’s rule and the political tension that can mount between one generation and the next. At the core of this story is Akhnaten replacing the religion of his father with his own, a conflict that was cemented in James’ interpretations of the intermittent text; James thus became the source of the opera’s greatest conflict both internally and symbolically. There was consistent conflict within him, the readings built with hushed frustration that seemed to grow. There was a rising tension as he read the four letters before the “Attack and Fall,” the conclusion of his speech making way for the high Priests to attack his son. But when Akhnaten died, James picked him up in his arms and delivered a pained reading of “The sun of him who knew thee not has set, O Amon.” He then returned as an excited professor, his lecture about the ruins coming off as an incomprehensible ramble that tied into the concept of history being dismantled by ensuing generations; it seems that the students were not the only issue here, but also the teacher’s own incomprehensibility. But James’ role was not at an end as his imposing figure would return one final time at the opera’s close with the final trio. Standing over his son, wife, and daughter-in-law, Amenhotep III, the ghost that haunts the opera and his son’s rule, would return once more in the same manner. Akhnaten could never escape his father’s shadow. James’ performance, coupled with how the production incorporated him, was arguably the greatest masterstroke of the entire evening. Those looking for great theater in a more traditional sense only need marvel at Zachary James’ immersive performances."
OPERA WIRE
"An unexpected star turn came from Zachary James, who threatened to steal the show in the speaking role of Akhnaten’s father. James declaimed his various expositional monologues with Shakespearean gravitas – all power and presence – lending a force and an urgency to the narrative.The dramatic weight of his delivery was matched with an excellent physical command of the stage, every broad, deliberate gesture carried out with an unwavering sense of authority."
PARTERRE BOX
"Most of the words in Akhnaten go to the king’s dead father, Amenhotep III. That role was played by Zachary James, making his Met debut. When Amenhotep proclaims, “Open are the double doors of the horizon / Unlocked are its bolts / Clouds darken the sky / The stars rain down / The constellations stagger…When they see this king / Dawning as a soul,” there was a rush of exhilaration, because that horizon is infinite. In lesser hands, Amenhotep’s lines would be portentous, but James was gripping, inside the character and narrative in both voice and body. Supporting this infinity was exceptional craft and a sense of beauty. Akhnaten is easily one of the finest things to ever appear at the Met."
NEW YORK CLASSICAL REVIEW
"The casting of bass Zachary James as Akhnaten’s father and predecessor Amenhotep III was a masterstroke. His imposingly tall and muscular figure, in combination with his booming voice, created an archetype of royal power in contrast to the recessive, poetic Akhnaten."
THE OBSERVER
"Zachary James impeccably spoke the lines of Amenhotep III. Let’s hope he will be back when the company revives Oedipus Rex."
OPERA NEWS
"bass Zachary James, who forcefully narrates the piece with authority and is a powerful stage presence"
BROADWAYWORLD
"Especially imposing was Zachary James in role of Amenhotep III, Akhnaten’s father, who serves as a kind of ghost-narrator and delivers, speaking, most of the libretto’s intelligible text in an opera largely sung in archaic languages that remained untranslated in the seatback titles. James underlined his role as effective emcee by doubling as a professor explaining Egyptian history to a group of bored students, as Akhnaten was posthumously transformed into a museum display beneath them; at one point, he even joined in the juggling."
THE WASHINGTON POST
"Mr. Glass and his collaborators assembled the libretto from ancient Egyptian, Akkadian and Hebrew sources, though crucial passages are intended to be spoken in the language of the audience by a character called the Scribe. Mr. McDermott has chosen to have the texts delivered by the ghost of Akhnaten’s father, played by Zachary James, who looks imposing in his sequined regalia and speaks the lines with chilling intensity."
THE NEW YORK TIMES
"The opera’s vocal text, devised by Shalom Goldman from original sources including the “Egyptian Book of the Dead” and a love poem found in a royal mummy, is recited in English by a narrator, here called Amenhotep III (the dramatic Zachary James)"
THE WALL STREET JOURNAL
"Spoken texts, however, were delivered in a way that bolstered the narrative enormously. While Mabou Mines actor David Warrilow’s readings on the 1987 Akhnaten recording sounded officious and bizarrely irate, the Met’s Zachary James found sense, purpose, and emotional underpinning in the same words, no doubt thanks to his experience in Broadway theater, but with an added operatic sensibility. Though Met audiences mainly heard his speaking — with pitch-perfect line readings — James is a promising singer"
CLASSICAL VOICE NORTH AMERICA
"Zachary James is a stentorian, theatrically stylised narrator"
FINANCIAL TIMES
REVIEWS FOR ZACH AS THE COOK IN
THE LOVE FOR THREE ORANGES
OPERA PHILADELPHIA
"bass Zachary James skillfully milked a star turn as the
giant, hen-costumed Cook"
OPERA NEWS
"The vocal side of the evening is also cast from strength—though bass Zachary James deserves special mention for singing and acting. He nearly walks off with the proceedings in his one-scene cameo as a deranged cook done up like a drag-queen Julia Child...who is also an egg-laying chicken. Really, don’t ask."
BROAD STREET REVIEW
"Zachary James is a total hoot in the drag role of a monstrous cook."
PARTERRE BOX
"Over-the-top funny was the superb bass, Zachary James, as the Cook, dressed as a very large chicken. James had every movement of that chicken down pat, a remarkable feat, and I say this as a former farmer’s daughter."
BACH TRACK
"The entire cast gave an excellent performance. My favorite was bass Zachary James who played the funky chicken with the feline personality, alias The Cook, the possessive and dangerous holder of the three oranges."
OPERA GENE
“Bass Zachary James’ towering physical presence is exceeded only by his towering talent on ample display in the featured role of The Cook. This outrageous drag act not only makes Mr. James a female, but as noted above, actually makes him a chicken. No chicken (s)he when it comes to hurling out musical phrases that throb with theatrical urgency and refulgent vocalizing. His coy girlish playfulness obtaining the ribbon he covets was alone worth the price of admission.”
OPERA TODAY
"Many funny things happen along the way to the happy ending, the best of them courtesy of Zachary James, appearing as a very large chicken in a toque wielding a fierce ladle."
SAN FRANCISCO WEEKLY
"Standouts in the large, game cast included...especially Zachary James, an extremely tall bass, who sang the formidable Cook while dressed as a hen and wielding a lethal ladle like a golf club."
WALL STREET JOURNAL
REVIEWS FOR ZACH AS JOHN CLAGGART IN
BILLY BUDD
DES MOINES METRO OPERA
"Zachary James scored a hit with his malevolent, sexually sadistic Claggart. James's cavernous bass is intrinsically beautiful, and he deploys it with intelligence: James appears to sing always within his natural means, never artificially darkening the sound."
OPERA NEWS
"The villain was portrayed with towering force by Zachary James, a giant man with a big black bass to match"
CHICAGO TRIBUNE
"His rival is the 6-foot, 6-inch badass Zachary James, who plays the ship's ruthless master-at-arms John Claggart with a chilling intensity and an emotional depth that rivals the fathoms of his vocal range. James skillfully unpacks the character's tortured thoughts and forbidden desires."
DSM MAGAZINE
"The star of the night"
OPERA WIRE
"Claggart is not evil personified, certainly not as portrayed by the dynamic, explosive, forceful Zachary James. Physically imposing, Mr. James took command of the stage as assuredly as any master at arms would control his seamen."
OPERA WIRE
"Claggart’s intense desire for control and order became undone. Mr. James’ intensity was maintained all the way to the bottom of his considerable register, where even words like “honor” seemed threatening when delivered with such powerful ferocity and resonance. Act I came to a climax not with a joyful chorus of sailors but with Mr. James alone on stage, collapsing to his knees as he concludes he must destroy Billy to save himself. I am not exaggerating when I say that “Oh, beauty, oh handsomeness, goodness” was the most electrifying five minutes I have ever spent in the theater. I’ve seen it done as a showpiece aria, but as rendered by Mr. James, in the context of a powerful production like this one, it was a transformational moment. His anguish, his rage, his sorrow, were all inwardly focused: no striding about the stage, no “tenor claw,” no chewing of scenery; everything was done with his voice as his body collapsed before us. His rendition was at once deeply personal and overwhelming explosive. I walked out at intermission still dizzy with tears in my eyes."
OPERA WIRE
"Never mind, you just won’t see a finer Budd than that on view from Craig Verm. Much the same could be said for bass-baritone Zachary James as the evil John Claggart. His imposing stature, his bad boy good looks, and most of all, his searing, orotund vocal production combined to make him a definitive Master at Arms. While he is consistently insistent in enforcing his discipline, Mr. James finds astonishing nuance in his delivery, as he is both physically and intellectually attracted to Billy, all the while disgusted by it. You will likely never hear Claggart’s aria more passionately performed with compelling tortured feelings, yet with rock solid vocalism. And Zachary’s death spiral after the fatal punch, ending fallen flat on his face, was beyond any physicality I have ever seen in this critical plot moment."
OPERA TODAY
REVIEWS FOR ZACH AS VODNIK IN
RUSALKA
DES MOINES METRO OPERA
"Zachary James, a true stage animal, brought a striking bass voice and a tremendously magnetic presence to his sympathetic Vodnik"
OPERA NEWS
"the embarrassment of riches continued with the powerful Vodnik (Water Sprite) embodied by bass Zachary James. Having been mightily impressed by his Claggart last summer, I came to this performance with big expectations, and he exceeded them all. Mr. James’ vibrant, virile singing can ping off the walls with potent urgency and chilling effect. But he is equally capable of nuanced vocalizing that communicates fatherly concern and even pathos. He is a born stage animal who prowls, slides and lurks about the proceedings with consummate presence and unerring dramatic effect."
OPERA TODAY
"Singing in Czech, the cast is terrific. James is magnificent as Rusalka's protective dad..."
DSM MAGAZINE
"Des Moines Metro Opera has gathered a stellar cast for their production. Let me start off by saying that Zachary James is merman goals personified in the role of Rusalka's father, Vodnik. Covered in glitter and sporting green facial hair, James cannot avoid being the center of attention onstage. After seeing him as the villain last season, it was fun to witness James in a more playful role. However, the bass still managed to convey Vodnik's darker emotions with gravitas. Sure he seems harmless when chasing wood sprites in act one, but if you mess with his daughter, you better watch out."
SCHMOPERA
REVIEWS FOR ZACH AS FRANK MAURRRANT IN
STREET SCENE
VIRGINIA OPERA
"Zachary James proved vocally and physically imposing
as the volatile, resentful, jealous Frank"
OPERA NEWS
"Zachary James is an intimidating gruff Frank Maurrant. Abusive, sexist, racist and irrational, Frank proclaims, "Let things be like they always was" as he decries flimsy dresses, birth control and foreigners. James's booming basement voice is superbly suited for the role of Frank; his tall stature lends terror to the villain."
WHRO
"As her counterpart, the antagonist and husband Frank, Zachary James is her perfect foil. Tall and imposing, with a snarling vocal approach to match, Mr. James is the ideal opera villain, a genuinely bad guy who betrays no redeeming social qualities. That is, until the end of the opera when we finally catch a glimpse of what's been driving him."
COMMUNITIES DIGITAL NEWS
"physically and vocally imposing"
DC METRO THEATER ARTS
"Bass Zachary James brought an edgy, peppery voice and dominating stage presence to Frank Maurrant, Anna's violent, suspicious husband""
WASHINGTON CLASSICAL REVIEW
"Zachary James, who, from the look of him could be a quarterback, is an imposing threat as Frank, the drunken lout who is father and husband in the Maurrant tragedy"
VIRGINIA PILOT
"Zachary James is given the unenviable task of playing the villain, an abusive husband and father, Frank Maurrant. He succeeds wonderfully, partly because this villain is a handsome leading man, a type difficult to imagine doing anything wrong. He has a beautiful and expressive voice, and a powerful, towering presence. "Let Things Be Like They Always Was" defines him.""
PAULKURITZ.COM
REVIEWS FOR ZACH AS ZACCARIA IN
NABUCCO
UNION AVENUE OPERA
"The Hebrew high priest, Zaccaria, is a role for a powerful basso,
and Zachary James more than fulfills this requirement.
His is a stunningly-even startlingly powerful voice. By far the tallest figure on stage, James dominates the scene and fills the hall. The timbre of his voice rings with a touch of the brazen-an aspect that helps him to pierce through a stageful of voices"
BROADWAYWORLD
"As the Jewish high priest Zaccaria, bass Zachary James is a powerful stage presence with a big rolling basso
that easily reaches to the back of the house"
ON ST. LOUIS
"impressive singing...Zachary James as the Jewish high priest Zaccaria was a commanding figure and cut through the orchestra"
SAINT LOUIS POST DISPATCH
"James is an imposing figure with a deep, rich bass and height to tower over the others, adding gravitas to his youthful portrayal of the high priest"
KDHX
"Also standing out is bass Zachary James as Hebrew high priest Zaccaria, both in physical presence and in vocal prowess"
ST. LOUIS LIMELIGHT MAGAZINE
"Zachary James puts his brooding bass to good use
as high priest Zaccaria"
LADUE NEWS
REVIEWS FOR ZACH AS AMENHOTEP III IN
AKHNATEN
BY PHILIP GLASS
ENGLISH NATIONAL OPERA 2016 & 2019
and LOS ANGELES OPERA
Opera it may be, but this is also a meditation on the distant past, presided over by The Scribe, a spoken role brilliantly performed by Zachary James. His powerful voice, diction and commanding stage presence, helped by being a head taller than everyone else, provided a stabilising factor throughout, only revealing emotion in Act III as he reads from the Amarna letters, “I have written repeatedly for troops, but they were not given … If there are no troops this year, let the king send his officer to fetch me and his brothers, that we may die with our lord, the king … but there has not come to us a word — no, not one”. Welcoming the new ruler who takes over from Akhnaten he recites words taken from Tutankhamun’s tomb, and finally assumes the role of tour guide, visiting the ruins at El Amarna.
MARK RONAN
Another returner is the excellent bass Zachary James as the Scribe, perfectly delivering his spoken (English) lines which act as a linguistic anchor for the audience. But if any opera is not about operatic ‘stars’, it is this one. Certainly, we have the foregrounded Akhnaten; but those that surround him act as a perfectly balanced team that Glass presents in masterly fashion
SEEN & HEARD INTERNATIONAL
Mention must also be made of the dominating presence and superb spoken declamations of Zachary James as the Scribe. These vital passages drive the narrative forward and are compelling.
CLASSICAL SOURCE
Zachary James’ Scribe dominates the stage like Fafner - the voice powerful, his diction absolutely crystal clear.
OPERA TODAY
text was spoken by the character of the scribe played by bass Zachery James who gave some very powerful orations.
SCHMOPERA
across the cast the vocals are stunning, especially those of Zachary James who reprises his role as the Scribe.
A YOUNGER THEATRE
The spoken script from the imposing Zachary James is delivered with a sonorous force that balances the otherworldly voice of the genderless pharaoh.
ART SCENE IN WALES
Zachary James once again powerfully declaimed the spoken invocations of the scribe narrator, a towering presence on stage, especially when he cradles the body of the dead pharaoh like Michelangelo’s Pietà.
BACH TRACK
The performance was presided over by The Scribe, played by Zachary James, who provided a powerful on-stage presence and a dynamic realisation of the part.
ELIZABETH JONES OPERA
The Scribe and Narrator throughout the evening was the huge presence of Zachary James.
OPERA SPY
"the role of the Scribe...here taken with firmness and clarity by bass Zachary James"
OPERA NEWS
"played majestically by the powerful Zachary James"
LA SPLASH
"resonantly intoned, Zachary James's towering Scribe was certainly commanding"
CLASSICAL SOURCE
"the sonorous and imposing Zachary James"
THE CIRCUS DIARIES
"Zachary James was imposing as the pontificating Scribe and Narrator"
THE TELEGRAPH
"Che voce divina! Lo scriba con il ruolo di voce narrante e interpretato da Zachary James"
ALIBI ONLINE
"Zachary James has tremendous power and presence as the scribe, translating the parable down the ages for us."
THE ARTS DESK
"imposing delivered by Zachary James"
THE GUARDIAN
"Zachary James is sonorous"
THE EVENING STANDARD
"bass Zachary James emitted power and authority as the scribe who recounts aspects of Akhnaten's reign and its eventual collapse."
MUSICOMH
"Zachary James's scribe, a powerful presence"
MATURE TIMES
"most notably the imposing Zachary James"
BACH TRACK
"As the Scribe, Zachary James's powerful voice, diction and commanding stage presence provided a firm grounding for the whole performance"
MARKRONAN.COM
REVIEWS FOR ZACH AS THE DOCTOR IN
WOZZECK
DES MOINES METRO OPERA
“Zachary James was molten malevolence as the malpracticing Doctor. Mr. James colored his sizable bass-baritone with menacing intent and his looming physical presence was enhanced by a hunched back and disfiguring facial prosthetics.”
OPERA TODAY
“there was a creepy, resonant doctor from the ever-interesting Zachary James”
OPERA NEWS
“In Zachary James performance, we get to see him use a hump and glasses from his first entrance. He uses his posture to accentuate the hump through each scene. When he stands tall the hump is visible but as he leans down to talk to people, it becomes more prevalent. The diction he brings to the doctor brings another level to his characters antagonizing of Wozzeck. It was menacing and impressive in the song between the Doctor and Wozzeck as the tempo made it seem like a patter song.”
BROADWAYWORLD
“Zachary James brought to life Wozzeck’s other primary persecutor, the malicious Doctor. James is a familiar face on the Des Moines Metro Opera stage, but he was visually transformed in this role, partially due to the prosthetics but also due to the altered physicality that the singer employed. James is a tall imposing figure, but he gave the Doctor a crooked stance and an almost slithering gait. Wozzeck looked terrified of him, and I couldn’t blame him. (That mad scientist gave me the creeps!) James portrayed the Doctor as cold and calculating. It was clear that this man viewed all other human beings as mere case studies, never taking their needs or pains into account. James’ voice took on a more sneering tone, and the affect enhanced the character’s sinister persona even further.”
SCHMOPERA
“James, as the hunchbacked Doctor, is frightening. One yearns to laugh, but his lumbering physicality and didactic manner (not to mention his head-box-with-skull-screws and other fun contraptions) are so horrifying that one can’t help mentally fast-forwarding to Nazi experiments of the ensuing decades.”
THE KANSAS CITY INDEPENDENT
REVIEWS FOR ZACH AS THE IMMIGRATION OFFICER IN
FLIGHT
DES MOINES METRO OPERA
"the always impressive bass Zachary James as the Immigration Officer. We have to wait until Act Three for him to sing, but when he rolls forth with his darkly colored, pulsating musical lines, we find it well worth the wait."
OPERA TODAY
"the low end of the spectrum was inhabited by bass Zachary James, the stoic Immigration Officer. James is an imposing presence both physically and vocally"
SCHMOPERA
REVIEW FOR ZACH AS OLIN BLITCH IN
SUSANNAH
OPERA ROANOKE
"Bass Zachary James, who has appeared as the villain in a number of recent Opera Roanoke productions, applies his physically striking and vocally vibrant presence to Olin Blitch, portraying perfectly the preacher’s disquiet and despair."
THE ROANOKE TIMES
REVIEW FOR ZACH AS FAFNER IN
DAS RHEINGOLD
ARIZONA OPERA
"As the bass-voiced giants, Fasolt and Fafner, Harold Wilson and Zachary James filled the hall with their deep, cavernous sounds"
OPERA TODAY
REVIEWS FOR ZACH AS TERRY IN
BREAKING THE WAVES
WORLD PREMIERE AT OPERA PHILADELPHIA
"Zachary James was a strong voiced Terry"
BACH TRACK
"Zachary James is memorable in the role of Terry"
TALKIN' BROADWAY
"The scene-stealing Terry (Jan's confidant and best man played by Zachary James)"
THE ART BLOG
REVIEW FOR ZACH AS SAMUEL IN
THE PIRATES OF PENZANCE
MASTERVOICES NYC
"The impressive Zachary James displayed vocal oomph and range."
OPERA NEWS
REVIEWS FOR ZACH AS THE MIKADO AND POOH-BAH IN
THE MIKADO
ANCHORAGE OPERA & UNION AVENUE OPERA
"And finally the title character arrives--THE MIKADO! Bass-baritone Zachary James will make you swallow your gum! Visually alone he is stunning; Dressed in a snow-white uniform with a plumed pith-helmet he seems some eight feet tall. And his voice! It seems an order of magnitude larger than any other voice on stage. Wow! And in his gorgeous rendition of "Let the Punishment Fit the Crime" he prances and dances like a much smaller person, flinging his limitless legs with considerable abandon."
BROADWAYWORLD
"The title role of the Mikado isn't large. But bass Zachary James, who created the role of Lurch in The Addams Family on Broadway, turns his one number, "A more human Mikado,” into a real show stopper"
KDHX
"the pompous, long-legged physicality of Zachary James, playing the stuffy, upper-class snit Pooh-Bah with a fine baritone"
ANCHORAGE DAILY NEWS
REVIEW FOR ZACH AS JUDGE TURPIN IN
SWEENEY TODD
OPERA ROANOKE
"The sinister Judge Turpin is given a splendid performance by Zachary James"
THE ROANOKE TIMES
REVIEWS FOR ZACH AS ABRAHAM LINCOLN IN
THE PERFECT AMERICAN
BY PHILIP GLASS
WORLD PREMIERE AT THE TEATRO REAL, MADRID
UK PREMIERE AT ENGLISH NATIONAL OPERA, LONDON
AUSTRALIAN PREMIERE AT OPERA QUEENSLAND
"...bass Zachary James provides the gravitas and perfectly executed choreography of the Audio-Animatronic robot of Abraham Lincoln."
OPERA NEWS
"the quirky, tentacle-cabled-up animatronic of Abraham Lincoln is realized unforgettably by Zachary James, whose huge, robust bass resonates with force."
BACH TRACK
"Zachary James stood out as a commanding Abraham Lincoln, both vocally and physically..."
OPERA BRITANNIA
"A highlight is a scene-stealing appearance from bass Zachary James as an animatronic Abraham Lincoln."
CLASSICAL MUSIC
"a particular highlight is the animated Abraham Lincoln, convincingly played by Zachary James whose chiseled features and styalized movement have you wondering for a few seconds whether he is real or truly a puppet."
BRITISH THEATRE GUIDE
"gloriously portrayed by Zachary James...wonderful...as funny as it was touching..."
"Stealing the show with his incredible height and skilful robot moves, Zachary James as the robot Lincoln"
THE PUBLIC REVIEWS
"From among the superb cast...Zachary James as Abraham Lincoln...stands out"
LONDONIST
"Zachary James as the malfunctioning animatronic Abraham Lincoln is at the centre of probably the most memorable scene...brilliant..."
THE ARTS DESK
"...Lincoln, extremely well realized by Zachary James..."
OPERA TODAY
"the excellent Zachary James"
GRAMOPHONE
"an excellent Zachary James"
THE TIMES
"a brilliant portrayal of an animatronic Abraham Lincoln by Zachary James"
EXPRESS
"wittily played by Zachary James"
THE STAGE
"Zachary James adds a brilliant cameo"
FINANCIAL TIMES
"bass Zachary James was imposing as the uncontrollable Lincoln"
WALL STREET JOURNAL
"Zachary James's lanky malfunctioning animatronic Abraham Lincoln is a striking turn"
WHAT'S ON STAGE
"Zachary James had a touch of Daniel Day-Lewis in his Lincoln."
LOS ANGELES TIMES
"excellent cameo by Zachary James as an animatronic Abraham Lincoln"
NEW STATESMAN
"Zachary James was especially striking"
BACH TRACK
"Abraham Lincoln, a Disneyland prop portrayed beautifully by Zachary James"
BRISBANE TIMES
"Zachary James gave grace and dignity to Abraham Lincoln"
THE SYDNEY MORNING HERALD
"Indeed, one of the opera's most memorable scenes thanks to a marvelous portrayal by Zachary James"
BLUE CURTAINS BRISBANE
REVIEW FOR ZACH AS ALIDORO IN
LA CENERENTOLA
OPERA ROANOKE
"Zachary James was a striking Alidoro; he dominated several scenes by sheer presence alone, and he sang his Act I aria with pure tone and great verve."
ROANOKE TIMES
REVIEW FOR ZACH AS OSMIN IN
DIE ENTFÜHRUNG AUS DEM SERAIL
OPERA ROANOKE
"Osmin, was sung by bass Zachary James, who embraced his character’s villainy (and very low notes) with much flair and physicality."
ROANOKE TIMES
REVIEWS FOR ZACH AS LURCH IN
THE ADDAMS FAMILY
ON BROADWAY
“Zachary James craftily lurches through the affair as the half-dead family butler”
VARIETY
“South Pacific’s Zachary James nails every bit of physical business as Lurch, earning some of the night’s biggest laughs”
NEW YORK
“the evening’s climax…the scene-stealing presence of the tall, ghoulish, low-note-hitting Zachary James, as the glacially slow butler Lurch.”
FINANCIAL TIMES
"Zachary James delivered a powerful solo performance that left the audience in awe"
THE EXAMINER
“Zachary James as Lurch…hilarious”
VOGUE
Zachary James gives everyone a surprise at the end when he breaks into a glorious bass voice...
THEATER JONES
“…hulking…physically perfect…”
TIME OUT NEW YORK
“…as the cadaverous Lurch, Zachary James makes music with his growls.”
BLOOMBERG NEWS
“…numerous amusing acting turns… notably Zachary James as butler Lurch.”
THEATER MANIA
Zachary James, as Lurch, chews up the scenery with a splendid comedic performances. Even when he is blocked upstage, your eyes go straight to him to see his hilarious facial expressions. He has several scenes that had me guffawing out loud. James is a very tall, lanky man who uses his body to wring out more physical comedy. And what he does in the finale is the comedic cherry on top of his crowd-pleasing performance.
PEGASUS NEWS
“Zachary James is almost impossibly good as the mostly silent Lurch“
NEW YORK PRESS
“Lurch, played with wonderful dryness and a deep bass by Zachary James”
VARIETY
“Zachary James is comically droll as the ever-present Lurch”
BROADWAY WORLD
“Zachary James gives a fun performance as the glacially paced, deep-voiced butler, Lurch.”
TALKIN' BROADWAY
“Zachary James is wonderfully incoherent as the muttering Lurch. ”
TRIB LIVE
“And there is even a priceless benediction delivered by the dour butler, Lurch
(Zachary James, who appears to have sprung directly from Charles Addams’ pen).”
CHICAGO SUN TIMES
“…the tall and talented Zachary James as Lurch.”
CHICAGO PRIDE
REVIEWS FOR ZACH AS PASQUALE IN THE
ENCORES! NYC CENTER OFF-BROADWAY PRODUCTION OF
THE MOST HAPPY FELLA
"And I loved, but loved, the bouncing, dancing chefs portrayed by Zachary James, Bradley Dean and Brian Cali"
THE NEW YORK TIMES
"Zachary James, Brian Cali and Bradley Dean bust out their opera voice for "Abbondanza", a crowd-pleasing homage to bel canto...an audience favorite..."
THEATER MANIA
"Zachary James, Bradley Dean, and Brian Cali...a trio....who practically had the crowd on its feet after their spirited rendition of "Abbondonza"."
THEATRE PIZZAZZ
"Brian Cali, Bradley Dean and Zachary James thrill as operatic waiters peddling amore"
TALKIN' BROADWAY
REVIEW FOR ZACH AS ACTION IN
WEST SIDE STORY
“the experienced Zachary James (Action) put over "Gee, Officer Krupkee" with real panache”
GAY CITY NEWS
REVIEW FOR ZACH AS SWEENEY TODD IN
SWEENEY TODD
“Zachary James is on his way to Broadway stardom…”
ST PETERSBURG TIMES
REVIEWS FOR ZACH AS THE BONZE IN
MADAMA BUTTERFLY
“…a powerful visit from the priest Bonzo, her uncle, excellently done in a brief appearance…”
KNOXVILLE NEWS SENTINEL
“ridiculously handsome…a thrilling, booming voice… larger than life presence…” “(Zachary James) made it about the most imposing Bonze I’ve ever seen. Never mind it WAS the most imposing Bonze.”
OPERA L
“…excellent…” “…arresting…”
DAILY PROGRESS
“…indeed perfect…”
FARRAGUT PRESS
REVIEWS FOR ZACH AS MILES GLORIOSUS IN
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
“…magnificently on the money…”
THE PROVIDENCE PHEONIX
“bigger than life and broad-stroke funny”
BROADWAY WORLD
“Outstanding…booming baritone…”
THE PROVIDENCE JOURNAL
“…larger than life…dominates the stage with his menacing physical presence and booming voice…wildly comical…”
MERCURY
“…powerhouse Zachary James plays Miles Gloriosus with a very funny sort of brute force…”
THE SUN
“Zachary James stands out as the conceited Miles Gloriosus; he’s gloriously cartoonish and has a booming, trained voice.”
THE CALL
“Zachary James, puffed up with the combined egos of Jupiter and Mars, keeps the crowd in stitches throughout with his flash-pec, stab-first and ask questions later romp through the madness as Capt. Miles Gloriosus.”
SOUTH COUNTY INDEPENDENT
“Captain Miles Gloriosus is splendidly played by Zachary James. He knocks your socks off with his powerful rendition of “Bring Me My Bride”"
THEATER MIRROR
REVIEW FOR ZACH AS THE MAJOR GENERAL IN
THE PIRATES OF PENZANCE
“…steals the show…”
THE ITHACAN
REVIEW FOR ZACH AS ABNER IN
LI’L ABNER
“…a fine voice…gives new meaning to the term hunk…”
COURIER TIMES
REVIEWS FOR ZACH IN
CONCERT APPEARANCES
“I could listen to James’ rendition of Reynaldo Hahn’s “L’Heure Exquise” on repeat for hours on end without ever growing tired of it...tune, tone, and resonance washes over the audience like a soothing wave of Parisian, well, amour.”
BROADWAY WORLD
“a huge, booming baritone that got the attention of the entire neighborhood.“
CABARET SCENES
“…exquisitely focused baritone… a Vaudevillian opera divo.. .startlingly beautiful…”
BROADWAY WORLD
“…commanding versatility…”
KURT WEILL NEWSLETTER