"A new breed of performer has arisen - and of that new breed, none in my experience is more expert, more skilled, more instinctive or more revelatory than Ron Bohmer."
- TREVOR NUNN, acclaimed Director of Les Miserables,
The National Theatre, The RSC, CATS and Sunset Blvd
"A new breed of performer has arisen - and of that new breed, none in my experience is more expert, more skilled, more instinctive or more revelatory than Ron Bohmer."
- TREVOR NUNN, acclaimed Director of Les Miserables,
The National Theatre, The RSC, CATS and Sunset Blvd
BROADWAY
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
THE WOMAN IN WHITE
"Expansive and emotional, the evil Sir Percival Glyde, whose all-consuming insincerity is delightfully delivered by a sneering Ron Bohmer."
- Michael Kuchwara, AP
THE WOMAN IN WHITE
"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
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
THE SCARLET PIMPERNEL
"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
BROADWAY
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
THE WOMAN IN WHITE
"Expansive and emotional, the evil Sir Percival Glyde, whose all-consuming insincerity is delightfully delivered by a sneering Ron Bohmer."
- Michael Kuchwara, AP
THE WOMAN IN WHITE
"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
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
THE SCARLET PIMPERNEL
"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
NATIONAL TOURS
"The production now playing at the Pantages is a theatrical knock-out. So how does it differ from the others? It's the super-charged spin that carries a zapped-up undercurrent of extra high-voltage. Let's face it, Phantom of the Opera is an extremely erotic musical. With Baritone Ron Bohmer in the title role, the Phantom is not only a larger than life romantic figure, he becomes down right seductive. Bohmer's glorious tones caress Christine"s soul, his soft tenor sweetness purrs in her ear, his burning desire stabs her heart, his boyish vulnerability attracts her like a magnet. The chemistry between this "beauty and the beast" simply sizzles."
- Shirle Gottlieb, Drama-Logue
PHANTOM OF THE OPERA
"Bohmer's Phantom (offers) a rich and powerful voice, a commanding physicality."
- Don Shirley, Los Angeles Times
PHANTOM OF THE OPERA
"Ron Bohmer, a veteran of Webber musicals, is the third Phantom to play Chicago since the musical first came here in 1990. And he's a surprise. He has a big musical theatre voice, yet he's most effective at showing the pathetic, rather the than frightening, side of the character. He saves his best work for his grand finale. Cornered in his underground lair and filled with rage and frustration over his unrequited love for Christine, he acts and sings with ringing authority, becoming both scary and tragic."
- Richard Christiansen, Chicago Tribune
PHANTOM OF THE OPERA
"Mr. Bohmer deftly carries this huge show. He helps us suspend our disbelief and listens as beautifully as he interprets his songs, sounding like a snake oil salesman and a fallen angel by turn. The touring company of Sunset Boulevard is that rare thing: a road show that's better than the Broadway production."
- Jackie Demaline, THE CINCINNATI ENQUIRER
SUNSET BLVD.
"Ron Bohmer is a little too young for the role of Joe Gillis (played by William Holden in the Billy Wilder Film), the disenchanted screenwriter who stumbles into Norma Desmond's isolated world; but he's smart, clear and clever in his acting, and he's in excellent voice."
- Richard Christiansen, Chicago Tribune
SUNSET BLVD.
"Ron Bohmer as the wise-cracking, cynical Joe Gillis is stronger than his Broadway counterpart. He's equally tall and tan but has a harder, sexier edge. The chemistry between Bohmer's Joe and Linda Balgord's Norma is Electric. And nothing can match the cynicism of Bohmer's title-song-second-act-anthem to Hollywood's opportunism."
- Sandra Brooks-Dillard, The Denver Post
SUNSET BLVD.
"You won't find a better set of actors anywhere, especially Bohmer as Alex and Balgord as Rose, both of whom have great voices and considerable presence."
- H.J. Kirchhoff, The Toronto Globe and Mail
ASPECTS OF LOVE
"As Rose and Alex, the young lovers around whom the memories of love play out into middle age, Linda Balgord and Ron Bohmer are a perfectly matched team of thoroughbreds, prancing under the silken reins (director) Robin Phillips holds securely in his hands. Both turn in powerful, moving performances, never once sacrificing the drama to the music, or vice versa. This is goosebump stuff."
- John Coulburn, The Toronto Sun
ASPECTS OF LOVE
"Ron Bohmer as Alex, is a handsome young leading man who has a big tenor voice and, more important, the ability to make even his character's most irrational moves seem the natural acts of an impulsive, tormented lover."
- Richard Christiansen, Chicago Tribune
ASPECTS OF LOVE
NATIONAL TOURS
PHANTOM OF THE OPERA
"The production now playing at the Pantages is a theatrical knock-out. So how does it differ from the others? It's the super-charged spin that carries a zapped-up undercurrent of extra high-voltage. Let's face it, Phantom of the Opera is an extremely erotic musical. With Baritone Ron Bohmer in the title role, the Phantom is not only a larger than life romantic figure, he becomes down right seductive. Bohmer's glorious tones caress Christine"s soul, his soft tenor sweetness purrs in her ear, his burning desire stabs her heart, his boyish vulnerability attracts her like a magnet. The chemistry between this "beauty and the beast" simply sizzles."
- Shirle Gottlieb, Drama-Logue
PHANTOM OF THE OPERA
"Bohmer's Phantom (offers) a rich and powerful voice, a commanding physicality."
- Don Shirley, Los Angeles Times
PHANTOM OF THE OPERA
"Ron Bohmer, a veteran of Webber musicals, is the third Phantom to play Chicago since the musical first came here in 1990. And he's a surprise. He has a big musical theatre voice, yet he's most effective at showing the pathetic, rather the than frightening, side of the character. He saves his best work for his grand finale. Cornered in his underground lair and filled with rage and frustration over his unrequited love for Christine, he acts and sings with ringing authority, becoming both scary and tragic."
- Richard Christiansen, Chicago Tribune
SUNSET BLVD.
"Mr. Bohmer deftly carries this huge show. He helps us suspend our disbelief and listens as beautifully as he interprets his songs, sounding like a snake oil salesman and a fallen angel by turn. The touring company of Sunset Boulevard is that rare thing: a road show that's better than the Broadway production."
- Jackie Demaline, THE CINCINNATI ENQUIRER
SUNSET BLVD.
"Ron Bohmer is a little too young for the role of Joe Gillis (played by William Holden in the Billy Wilder Film), the disenchanted screenwriter who stumbles into Norma Desmond's isolated world; but he's smart, clear and clever in his acting, and he's in excellent voice."
- Richard Christiansen, Chicago Tribune
SUNSET BLVD.
"Ron Bohmer as the wise-cracking, cynical Joe Gillis is stronger than his Broadway counterpart. He's equally tall and tan but has a harder, sexier edge. The chemistry between Bohmer's Joe and Linda Balgord's Norma is Electric. And nothing can match the cynicism of Bohmer's title-song-second-act-anthem to Hollywood's opportunism."
- Sandra Brooks-Dillard, The Denver Post
ASPECTS OF LOVE
"You won't find a better set of actors anywhere, especially Bohmer as Alex and Balgord as Rose, both of whom have great voices and considerable presence."
- H.J. Kirchhoff, The Toronto Globe and Mail
ASPECTS OF LOVE
"As Rose and Alex, the young lovers around whom the memories of love play out into middle age, Linda Balgord and Ron Bohmer are a perfectly matched team of thoroughbreds, prancing under the silken reins (director) Robin Phillips holds securely in his hands. Both turn in powerful, moving performances, never once sacrificing the drama to the music, or vice versa. This is goosebump stuff."
- John Coulburn, The Toronto Sun
ASPECTS OF LOVE
"Ron Bohmer as Alex, is a handsome young leading man who has a big tenor voice and, more important, the ability to make even his character's most irrational moves seem the natural acts of an impulsive, tormented lover."
- Richard Christiansen, Chicago Tribune
OFF BROADWAY
FORBIDDEN BROADWAY
"Refreshingly vicious! Bohmer delivers a hilariously raspy-voiced rendition of Harvey Fierstein's upcoming turn as Tevye; "If I Were a Straight Man." Hilarious, expert impressions!"
- New York Post
FORBIDDEN BROADWAY
"My 'Forbidden' love must include the cast! One of Ron Bohmer's best moments is as Alfred Molina, declaring, "A 'Fiddler' with no Jew. Sounds crazy, no?" Then, moments later, he does Tevye again as we see him played next by Harvey Fierstein. It zings right on target!"
- Howard Kissel, New York Daily News
FORBIDDEN BROADWAY
"The most gratifying and freshest 'Forbidden Broadway' in years. The New York theater's favorite practitioner of tough love has put on the brass knuckles for this round. Four protean performers (Mr. Bohmer acutely impersonates Jerry Orbach, Harvey Fierstein, Alfred Molina and others), colorfully assume the often-colorless styles of their subjects. Astutely anatomized, painfully precise satire!"
- Ben Brantley, The New York Times
FORBIDDEN BROADWAY
"The show's most consistently riotous moments come from Ron Bohmer, a veteran of several leading-man stints on Broadway who clearly knows whereof he spoofs."
- Charles Isherwood, The New York Times
THE THING ABOUT MEN
"Ron Bohmer is most appealing! He's a terrific actor."
- NY-1
THE THING ABOUT MEN
"As the artist Sebastian, Bohmer is hot and charismatic."
- Backstage
THE THING ABOUT MEN
"No one could better his performance."
- John Simon, New York Magazine
OFF BROADWAY
FORBIDDEN BROADWAY
"Refreshingly vicious! Bohmer delivers a hilariously raspy-voiced rendition of Harvey Fierstein's upcoming turn as Tevye; "If I Were a Straight Man." Hilarious, expert impressions!"
- New York Post
FORBIDDEN BROADWAY
"My 'Forbidden' love must include the cast! One of Ron Bohmer's best moments is as Alfred Molina, declaring, "A 'Fiddler' with no Jew. Sounds crazy, no?" Then, moments later, he does Tevye again as we see him played next by Harvey Fierstein. It zings right on target!"
- Howard Kissel, New York Daily News
FORBIDDEN BROADWAY
"The most gratifying and freshest 'Forbidden Broadway' in years. The New York theater's favorite practitioner of tough love has put on the brass knuckles for this round. Four protean performers (Mr. Bohmer acutely impersonates Jerry Orbach, Harvey Fierstein, Alfred Molina and others), colorfully assume the often-colorless styles of their subjects. Astutely anatomized, painfully precise satire!"
- Ben Brantley, The New York Times
FORBIDDEN BROADWAY
"The show's most consistently riotous moments come from Ron Bohmer, a veteran of several leading-man stints on Broadway who clearly knows whereof he spoofs."
- Charles Isherwood, The New York Times
THE THING ABOUT MEN
"Ron Bohmer is most appealing! He's a terrific actor."
- NY-1
THE THING ABOUT MEN
"As the artist Sebastian, Bohmer is hot and charismatic."
- Backstage
THE THING ABOUT MEN
"No one could better his performance."
- John Simon, New York Magazine
REGIONAL
"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
SUNDAY IN THE PARK WITH GEORGE
"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
SUNDAY IN THE PARK WITH GEORGE
"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
SUNDAY IN THE PARK WITH GEORGE
"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 IN THE PARK WITH GEORGE
"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."
- VitalVoice
IN THE NEXT ROOM OR THE VIBRATOR PLAY
"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
IN THE NEXT ROOM OR THE VIBRATOR PLAY
"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
IN THE NEXT ROOM OR THE VIBRATOR PLAY
"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 call."
- Sally Applegate, North Shore Sunday, TownOnline.com
DRACULA
"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
DRACULA
"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
DRACULA
REGIONAL
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
SUNDAY IN THE PARK WITH GEORGE
"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
SUNDAY IN THE PARK WITH GEORGE
"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
SUNDAY IN THE PARK WITH GEORGE
"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
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."
- VitalVoice
IN THE NEXT ROOM OR THE VIBRATOR PLAY
"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
IN THE NEXT ROOM OR THE VIBRATOR PLAY
"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
DRACULA
"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 call."
- Sally Applegate, North Shore Sunday, TownOnline.com
DRACULA
"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
DRACULA
"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