Ron as Sir Percival Glyde THE WOMAN IN WHITE

"The visiting British stars Maria Friedman and Michael Ball are bolstered by American actor Ron Bohmer's gleaming wickedry as Sir Percival Glyde."
Michael Sommers, NJ Star Ledger

"Expansive and emotional, the evil Sir Percival Glyde, whose all-consuming insincerity is delightfully delivered by a sneering Ron Bohmer."
Michael Kuchwara, AP

"As Sir Percival Glyde, Ron Bohmer pops with unique life from his first seconds onstage. The villain he creates is textured with an unusual (but hardly unwelcome) brightness that only gradually gives way to his shadowy true self."
Matthew Murray, Talkin' Broadway

Ron and Carolee Carmello THE SCARLET PIMPERNEL

"Stronger than its original incarnation, with a new trio of stars enacting the work's central love triangle in a more intimate setting. Its leading characterizations, especially from Ron Bohmer and Carolee Carmello as the English fop with a heroic alter ego and his plucky French wife, approach psychological realism in ways they didn't before, and there is a new respectfulness in both the playing and the singing of Wildhorn's songs. Bohmer, an actor of greater emotional delicacy and natural charisma, has a charmingly quiet spark of glee in his eyes and a shimmery, excellent voice. Bohmer, Ms. Carmello and Marc Kudisch deliver - with more gravity and finesse than their predecessors."
Ben Brantley, NY Times

"If the current production of Pimpernel is less grandious and handsome, it's well acted and very well-sung. And it's biggest challenge filling the shoes of Douglas Sills' Percy is it's most impressive element. Ron Bohmer lacks Sills' larger-than-life silliness, so has to approach the part differently, more obliquely, offering an honest, subtler interpretation that builds admirably. Both the actor and the character slowly blossom into the fop impersonation, gradually finding the requisite extravagance while delineating the serious, idealistic side of the character with complete conviction. A good actor with a voice more operatic and of even finer quality than Sills', Bohmer succeeds at a formidable task."
Ken Mendelbaum, In Theatre Magazine