SUNDAY IN THE PARK WITH GEORGE
"Breathtaking. Ravishing. A spirited Ron Bohmer and Erin Davie deliver emotionally dense
renditions that express the characters deepest longings, lavishing regard on every note
and syllable. By the time (Bohmer) completes that painting at the end of Act One, you may
find yourself crying. But they're the good kind of tears, tears that come when the artifice
of theatre resolves itself into solitary world - in this case, a world of transcendent beauty."
Judith Newmark, St. Louis Post-Dispatch
"In Georges Seurat, Lapine has written a complex role by any standard, especially so for
a musical, and Ron Bohmer revels in it's contradictions. After my first viewing I described
his performance as "robust". That sole adjective hardly suffices to convey the spectrum of
emotions Bohmer evokes. His Seurat is obsessive yet short-tempered, passionate yet argumentative,
admirable yet prickly. An Everest for an actor, and Bohmer scales its peaks with assurance and
confidence. When, in Act Two, he returns to the stage as Seurat's great-grandson, young and
beardless, initially the audience seems unsettled. Perhaps that's because we've become so
invested in Georges; we hate to see him go. But then Bohmer sails through "Putting It Together",
and he has won over the audience for a second time."
Dennis Brown, The Riverfront Times
"Ron Bohmer, in a glorious performance as the artist(s) George, handles the ultra-complex
Sondheim lyrics perfectly, putting the stamp of completion on a production that puts everything
together just the way Seurat would have wanted it. Bohmer, singing and acting with real style in a
long and difficult role, scores high. A diamond-sharp production."
Joe Pollack, St. Louis Critic
"Dazzling. Ron Bohmer gives an intense and completely absorbed performance as both Georges,
and it's a joy to watch him."
Chris Gibson, Broadwayworld.com
"SUNDAY is truly a showcase for two superb leads - Ron Bohmer and Erin Davie. Delivering
portraits that are both intense and delicate, along with controlled gorgeous vocals, they
are as close to Sonheim muses Mandy Patinkin and Bernadette Peters as can be while making
the characters their own. When someone masters Sondheim so confidently, it is an accomplishment
worthy of hearty ovations, and this company deserves the lengthy cascades of applause and cheers."
Lynn Venhaus, Bellville News Democrat
"Ron Bohmer as Seurat in Act One, filled the stage with energy, aggression and color
while as George in Act Two, he brought a vulnerable quality and the uncertainty of an
empty vessel - demonstrating the two extremes of life as an artist. Bohmer's portrayals
were as moving as they were diverse, the only consistent factor being the enthralling quality
of his vocals."
Jessica Ruhlin, ALIVE Magazine
"Exhilarating performances, led by the impressive Ron Bohmer in the dual roles of the two
Georges. As Seurat, he is powerful in his commitment to his art but also tragic in his inability
to relate to the frustrated Dot, his oppressive mother and others. A sweeping and commanding
Mark Bretz, The Ladue News
"Central to the show's success is Ron Bohmer as George Seurat - a magnificent success on
every level and a striking tribute to the expertise of The Rep."
Harry Hamm, KMOX-AM
IN THE NEXT ROOM
OR THE VIBRATOR PLAY
"It's difficult to single out any of the actors because they are all so good,
but I do think Ron Bohmer's character has the longest journey, as he
learns that love of his wife beats hell out of love for electricity
(the marvels of which he constantly extols, and of course, it makes
his treatment technique possible) and that he can't just go from his
lab to his club without a stop in between for his wife. He learns to feel jealousy,
through which, under the careful tutelage of his wife (whose "angels" are outside
the house in the snow) and at long last, love."
"Since its premiere in 2009, In the Next Room often has been described as a
story about the empowerment of women, so the biggest surprise about this
Rep production (directed by the ever-inventive Stuart Carden, who excels
with offbeat material) is the commanding presence of Ron Bohmer as the
emotionless Dr. G. Bohmer skillfully infuses history's first Dr. Feelgood
with an appealing drive. He personifies the proverb, "Physician, heal thyself.""
Dennis Brown, Riverfront Times
"Ron Bohmer is a Dr. Givings, fascinated with this new-fangled electricity,
who treats his "hysterical" patients with a stimulating invention, thus releasing
their anxiety and fears, and in some cases, sparking creativity."
Lynn Venhaus, New-Democrat
"Ron Bohmer is our guide, El Gallo, and makes him a delightful, sexy scoundrel with a
Broadway voice, painful self-awareness and worldly wisdom. During the first act,
Stern breaks down the fourth wall and takes the comic action into the theater aisles,
with Bohmer taking most of the responsibility for engaging the audience. He does it
with gusto, taking it just to the edge but never over, creating a playful connection -
we really are all in this together."
Jackie Demaline, Cincinnati Enquirer
"Cincinnati native Ron Bohmer fully captures the boyishly superficial charm of
the outlaw and narrator El Gallo, allowing a more chastened, worldly man to slip out
occasionally - sometimes at his own expense. Bohmer's singing of classic numbers,
especially "Try to Remember," is just right. In particular, he carries out Stern's
staging that moves him up and down the aisles of the Shelterhouse rather than keeping
him on the small stage. This draws the audience into the action without literally bringing
them onstage; in fact, the entire theater becomes a playing area. Bohmer speaks directly
to the audience and even acts as if he might invite them to be part of the action.
"Cincinnati native and seasoned Broadway pro Ron Bohmer (Ragtime, The Woman in White)
possesses a rich baritone voice and a commanding stage presence as The Narrator/El Gallo."
"Another great voice in the cast belongs to Ron Bohmer, whose soaring tenor was
on display when he played Dracula at NSMT. His voice is perfect for the great songs he
performs as riverboat gambler Gaylord Ravenal. As he begins singing the
memorable melody line to "Who Cares if my Boat Goes Upstream?" it is
clear this is one fine singer. He moves on to the classic hits "Only
Make Believe," "You are Love," and "Why Do I Love You?"
Sally Applegate, North Shore Sunday
"It's a short, pivotal and poignant scene. In it, Bohmer must
convey his love for his daughter, even as he's leaving her in a
convent school and abandoning his wife and child, running from the pain
of broken dreams...Bohmer and Doherty pull off the short scene nicely,
humanizing an action that on its surface is despicable and cowardly."
Daily News Tribune
"Teri has wonderful chemistry with her leading man, Ron Bohmer. He has a magnificent tenor
voice with a strong upper register to it. He makes a dashing, handsome rogue who
captures the heart of this young woman by wooing her with "Make Believe" and in their
relationship with the soaring "You Are Love". He also sings the gambling song with the men
called "Till Good Luck Comes My Way" but he moves the audience to tears in the reprise of
"Make Believe" when he realizes he must leave his daughter, Kim, played wonderfully by Kara Doherty.
Ron and Teri move the crowd again at the close of the show when Gaylord and Magnolia finally reunite
after their long separation."
Tony Annicone, The Theater Mirror
"Broadway actor Ron Bohmer is a ravishing Ravenal - charming, sexy, rakish yet sincere.
When he sings in his rich, soaring bari-tenor mix, Magnolia (the winsome and lovely voiced
Teri Dale Hansen) isn't the only woman who swoons. Their duets "Only Make Believe,"
"I Have the Room above Her," "You Are Love," and "Why Do I Love You?" are romantically transporting. Their mutual adoration is delightfully free of guile.
When the plot has Ravenal suddenly abandoning Magnolia and their daughter Kim because
of his gambling debts, Bohmer shows Ravenal's heartbreak at doing what he feels is
best for his family. His reprise of "Make Believe" sung this time to Kim is tear-inducing."
OF THEE I SING
"To find actors who can handle the broad comedy as well as the glorious
score isn't easy, but director Landau has come up aces, especially in
her choice for President John P. Wintergreen, Ron Bohmer, who cuts a
dashing figure and sings with bravura. An astonishing production."
Howard Kissel, New York Daily News
"This hit of yore is only a must for musical theater aficionados who rarely get to see it.
Nevertheless, an unapologetically slick Ron Bohmer couldn't be more
ideal for Wintergreen, the candidate who's all style and no substance."
Peter Filichia, The Star Ledger
"From the moment he appears as the sensual and sinister Dracula,
Ron Bohmer dominates the stage. Mr. Bohmer's Dracula is hypnotic, and he
has captured to perfection the intense, mesmerizing stare of the
infamous vampire count. His powerful baritone grows ever more effective
throughout the evening, with even the highest notes progressing from
thin to full. His singing is sometimes elegantly controlled as Dracula
connives, sometimes terrifyingly powerful as Dracula rages. Bohmer
clearly has the best role in this musical, and he makes the most of it,
earning a screaming standing ovation from the audience at curtain
Sally Applegate, North Shore Sunday, TownOnline.com
"Ron Bohmer's electric presence and huge, booming voice make
Dracula into a compellingly, mesmerizing figure --- he projects an unbelievable power."
New England Theatre Mirror
"Ron Bohmer makes for a frightening, seductive Dracula. This is,
indeed, an impressive tour de force performance that greatly enhances
the entire production."
Paul McMahon, Bay Windows
"Ron Bohmer as the sailor Ralph Rackstraw is the evening's standout, with a strong
and supple voice and easy control of the stage."
Dick Jackson, WSBS
"Briskly energetic and handsomely sonorous. Ron Bohmer sings Ralph Rackstraw
in a voice that is half pop star, half Irish tenor."
Richard Dyer, The Boston Globe
"Marcy Hariell and Ron Bohmer are true musical stars,
with powerful voices and strong acting talents (Bohmer brought new
strengths to Sir Percy in the last and best version of The Scarlet Pimpernel on Broadway)."
" I felt as if I was in a big champagne glass, bubbling along
with the rest of the audience and this funny, gorgeous cast. That starts with
Carolee Carmello's very knowing, just-outrageous-enough, golden lunged Reno Sweeney.
But the greater surprise is Ron Bohmer's Billy surprising because Billy can be a bit of
a lightweight. Not Bohmer. To his beautiful tenor add rugged leading man appeal and a
sense of fun."
Christopher Rawson, Pittsburgh Post-Gazette
"Ron Bohmer (The Scarlet Pimpernel with Carolee Carmello) seems
to have fun in his role as Billy Crocker and performs with boundless energy. If
you don't like Billy you won't like the show, and there's no problem with that here.
Bohmer really engages the audience. His voice is perfect for these Cole Porter
songs. On "Easy to Love" and "It's Delovely" (with Glory Crampton) in particular,
Bohmer really shows his range and smoothly delivers even the highest notes."
Ann Miner, TalkinBroadway.com
"I can't imagine the musical Floyd Collins ever resonating more than it does in
it's current production at Actor's Theatre of Louisville. Trapped mid-way in a long
vertical shaft at center stage is Broadway veteran Ron Bohmer in the title role.
Floyd Collins is a terrific role for Mr. Bohmer, playing a big voiced good old boy who,
trapped in body and in the cold, damp, dark, makes a spiritual journey nonetheless.
I've never seen him better."
Jackie Demaline, The Cincinnati Enquirer