​​​​​   Oliver  Wadsworth

As You Like It at Saratoga Shakespeare
​"Among the superlative performances... Oliver Wadsworth does double duty as Orlando's servant and a shepherd."
-Steve Barnes, Albany Times Union


Three Sisters at Living Room Theatre
​"The acting in this play is superb top to bottom... McCullough, as well as Wadsworth and Jackson, provide three radically different, but intensely effective, testosterone balances to the story's equation."
-Telly Halkias, American Theatre Critics Association

"DJ, played with delicate grace by Oliver Wadsworth... brought the charm of the Irishman into the play, declaring his undying love for the woman who would leave him for a married man."


The Tarnation of Russell Colvin

"With the help of just a few props and easy but effective costumes, designed by Richard MacPike, Wadsworth morphs rapidly between characters, often conducting both sides of a conversation or confrontation. Jackson and Wadsworth succeed in clearly delineating the differences between a large cast of characters while telling an exciting and complex story.  Not only did Wadsworth research and recreate the style of popular American performers of the early 19thcentury, but this past summer he had a unique opportunity to perform in many 19th century venues in front of authentic painted backdrops across the state of Vermont. Vermont has done an excellent job in recent years locating, restoring, and cataloging its painted theatre curtains (more info HERE), and is now expanding that work into neighboring New Hampshire and New York, including Hubbard Hall which owns three painted curtains – a forest scene, a townscape, and a Grand Drape – by Troy-based artist Charles H. Huiest(1854-1910)"

-Gail Burns, Berkshire on Stage


"Wadsworth, in a tight 70 minutes, takes us through the story, playing a number of characters – Colvin’s uncle-in-law, the accused murderers, Colvin’s favorite son, Colvin’s wife, just to name a few – who weigh in on what happened and sometimes tell the story from their point of view, just when you think you’ve got a handle on the truth. With only a steamer trunk full of props and costume pieces and a beautiful vintage painted backdrop on Hubbard Hall’s historic stage, Wadsworth carefully brings these characters to life, drawing a picture of life in the early 1800s. What could be caricature never goes down that path; his work with dialect and body language is deft and skilled.  Wadsworth, who also wrote the piece (directed by Kirk Jackson) is a fine actor; it wasn’t until I read his bio that I realized he was in Take Me Out at Capital Repertory Theatre in 2007 and I loved his performance there, as well. He has energy to spare, but it’s never wasted or frantic; it’s contained and he uses it to his advantage. Each character he plays here is crisp and delineated; even when two or three characters are speaking to one another, you know immediately who’s who in the conversation.  We are left, at the end, not quite knowing what happened, and realizing, of course, we never will. Did the brothers murder Colvin? Was the man that returned in the nick of time actually Colvin, or an imposter? Maybe the best mysteries never have an answer, and allow us, like this play, to turn them over in our heads long after the spotlight goes out and we’ve gone on our way.  A one-man show is a difficult task, and this is a one-man show at its finest. The program notes that Wadsworth and Jackson continue to hone the piece as the tour progresses – that kind of attention to detail pervades the show and will never allow it to become stale. This is strong work by everyone involved, and not your run-of-the-mill production; history and theater being celebrated together makes for a fine marriage indeed."

-Amy Durant, The Alt


​“A strangely timely work in the early months of the Trump era when the word "trump" has taken on new, highly debatable, meaning, the story of Manchester, Vermont's missing citizen is a very amusing look at how that word plays such a large role in this local history. Actor Oliver Wadsworth has created a forty character, one man play to investigate the depth, width and breadth of this unsolved murder case in which two men were convicted, but the outcome of the case is still debatable.”

-Peter Bergman, Berkshire Bright Focus

“In barely one hour and ten minutes this actor takes us along with himself on a ride through the politics of principles. Reporters are taught to find the who, what, where, when and why of a story as a basis for all reportage. As playwright Wadsworth has delved into these concepts exceptionally well. His director, Kirk Jackson, has played with these simple basics well, never letting a "fact" escape when it can be exposed. The glory of this work is that not one fact is completely supportable so the presentation by Wadsworth the actor is focused on making each character's story or opinion hold its own strength in its own reality.”

-Peter Bergman, Berkshire Bright Focus

“In this show Wadsworth shows us just about everyone and so there are no lapses in interest, never, as they say, a dull moment. Developed, in part, at the Dorset Theatre Festival, it is now their season opener for four performances only. Designed to tour - is is basically a play in a trunk - it will be seen again in Jamaica VT on June 22, Wardsboro, VT on June 24, South Londonderry, VT on June 29 with more tour dates to come.”

-Peter Bergman, Berkshire Bright Focus

“It is good fun watching Wadsworth morph from one character to another, often simply by changing his voice and accent, rather than rapidly slapping costume pieces on and off.”

-Gail Burns, Berkshire On Stage

“The Tarnation of Russell Colvin is a fascinating look back at post-Revolutionary New England, its people and its entertainments. This is not just who we were, it is who we still are as there are descendants of the people involved in this story still living in the Manchester/Dorset area. This is a story of how our ancestors sought for social justice, and, to a large measure, were successful in achieving it. And it’s a darn good mystery too!”

 -Gail Burns, Berkshire On Stage


Emilie at WAM Theatre
"Her mentor, lover, and challenger, the playwright, novelist, composer, scientist and philosopher François-Marie Arouet, known as Voltaire, is played with the exuberance of a young Mozart, the critical tones of a Humphrey Bogart and the mercenary, sexual challenges of a young Robert DeNiro. As he ages through the play Oliver Wadsworth as Voltaire is mesmerizing. Here is a man who will never take "no" for an answer, who believes Emilie when she says that "stories don't have solutions," who frowns on anyone else's passions but his own. Both of these characters assume that they know what is real and best in the work of Sir Isaac Newton and his German predecessor in theoretical physics and in math. Best when they are together, challenging and supporting in equal measure their own theories and each other's conclusions, Wadsworth's petulance and Stauffer's rages make for exciting, electric drama and even the laughs they get at times are in perfect harmony with the real hardships their characters inflict.
These two actors are personally responsible for any power outages in the neighborhood. They are consuming as much energy as they generate. I remember them as perfect matches four years ago; now they are so much more, a technical single entity splitting, like an atomic bomb might split, in the early stages of combustion." 

-Peter Bergman, Berkshire Bright Focus


​Van Gogh's Sunflowers at Brave New World
"Oliver Wadsworth does a terrific job as fragile passionate Vincent Van Gogh."

-Brooklyn Daily Eagle



The Book Club Play at Hubbard Hall Theater
"Standouts in the cast are Wadsworth's well crafted portrayal of Will..."  

-Peter Bergman, Berkshire Bright Focus


Fall River at Penguin Rep
"Although told solely from Borden’s point of view, you are introduced to many important character’s in Lizzie’s story through one main actor – Oliver Wadsworth. Wadsworth plays every major role in Borden’s tale, leaving him wisely credited as the character “Everyone else.” The addition of a shawl makes him becoming Emma Borden, Lizzie’s caring older sister. A thick, Irish brogue turns him into the family’s hardworking servant, Bridget Sullivan. By slouching his shoulders and stamping his foot hard on the stage floor Wadsworth brings to life Mr. Borden, one of the story’s notable victims. With humor and the ability to transform characters before the audience’s eye, Wadsworth is able to break up some of the monotony of Borden’s long rants."

-Rockland County Times


The Santaland Diaries at White Heron Theatre:


"'The Santaland Diaries,' now playing at White Heron Theatre, features the consummate artistry of actor Oliver Wadsworth in a hilarious, one-man staging of David Seders' comic masterpiece.  Establishing an immediate rapport with the theatrical audience through his whimsical, easy delivery, Wadsworth soon unveils a panoply of theatrical moves, giving life to the many colorful characters David encounters in his training and career as an elf:  highfalutin ladies, stressed out parents, whiny kids, hard living bosses, jaded costume ladies, bossy Santas and flirtatious fellow elves.  Like a magician pulling rabbits out of a hat, Wadsworth brings forth each fully formed, highly-entertaining eccentric from the depths of his virtuosity"

-The Inquirer and Mirror

Velocity of Autumn at White Heron Theatre:


"Chris (is) played endearingly by Oliver Wadsworth... Do not miss this powerful production, for either its comedy or its sentimentality is sure to get you, and stay with you a long while..." 

-Yesterday's Island/Today's Nantucket


"The two actors create a pair of utterly believable, flawed yet sympathetic characters, collaborating at the highest level for a night of unforgettable theater...  Coble gives the character of Chris two great speeches, one about a bicycle accident in which he stood hopelessly by, frozen, and one in which he describes a Navajo sunrise ceremony.  In both these speeches, Wadsworth's use of pacing tone of voice, pauses and body language all contribute to extended theatrical moments of crystalline clarity and beauty... The incredibly moving conclusion is played perfectly in the White Heron production." 

-The Inquirer and Mirror

Sherlock Holmes and the Case of the Jersey Lily at Dorset Theatre Festival:

"Wadsworth deserves a separate bow all his own for his portrayal of Wilde. In a completely fanciful insertion in the legend of Holmes, Wadsworth delivered line after line of well-timed humor - as well as attitude - which quickly made him the crowd favorite and show-stealer of the evening. And hear this: you won't want to miss how he ends up naming one of his greatest works." 

-Manchester Journal

"It is the very silly role of Oscar Wilde, played by Oliver Wadsworth, that drives the play. The actor involved in this production is a literal joy to watch and listen to as he moves skillfully through the wayward plot. Most of the laughter comes from Wilde and Wadsworth knows how to deliver those lines."

-Berkshire Bright Focus

"Oliver Wadsworth was a delightfully fey as Oscar Wilde [...] a fine comic portrayal." 

-Rutland Herald

Six Characters in Search of a Author


"The talented cast is exceptional.  Oliver Wadsworth gives a complex energetic emcee quality to the Father, the detestable yet remorseful ringleader who wishes to explain and clear his name." 

-Las Vegas Review Journal


Mickey and Jean by Richard Dresser at Bickford Theatre: 

"Oliver Wadsworth gets to demonstrate his versatility by playing three vastly different parts beautifully." 

Northern New Jersey Theatre Examiner 

"Wadsworth first portrays a tourist, then a doctor, and then a transvestite.  Wadsworth is so distinctive in each of the three roles that audience members could be pardoned if they assumed that a trio of actors has been cast." 

The Star-Ledger

"The piece is rounded out by a trio of other characters played with brio by Oliver Wadsworth." 

Metroland

Peter and the Starcatcher at Pioneer Theatre:


​"Molly is accompanied by her proper British nanny, Mrs. Bumbrake, hilariously portrayed by Oliver Wadsworth." 

-Desert News

 "I particularly loved Oliver Wadsworth who spent most of his time as Betty Bumbrake.  Wadsworth's beautiful beats of alliteration blew the britches off the boatswain, Alf, and Betty's nasal falsetto and ever concerned air made her a highlight of the evening as Molly's 'Nana'." 

-UTBA (Utah Theatre Bloggers Association)


Chitty Chitty Bang Bang - National Tour


“Acting honors go to Oliver Wadsworth, whose Childcatcher was so creepy, he scared even me.”  

-Baltimore Sun

“The standout performance, if brief, is given by Oliver Wadsworth as the Childcatcher.

-Stagesbalitimore.wordpress.com

“Though it is a small role, Oliver Wadsworth’s Childcatcher is easily one of the creepiest villains to ever hit the Hippodrome Stage.  Slinking around the stage, sniffing out children and trilling in a high-pitched voice, Wadsworth’s portrayal is truly shudder-inducing.” 

-Baltimore Examiner

 “Wadsworth’s Child Catcher is like a walking, talking nightmare.  Well done, Wadsworth.” 

-The Huntsville Times

“Oliver Wadsworth almost steals the show in his second act character, the Childcatcher.  He is creepy and scary.  Bravo for pulling off two very different characters in the same show.  Without the aid of the program, the audience would never guess it was the same actor.”

- Appleton Post-Crescent

“The ominous Childcatcher (Oliver Wadsworth) is creepy.” 

-Miami Herald

 “Oliver Wadsworth… the hideously creepy Childcatcher.”

The Dallas Morning News

“Wadsworth’s Childcatcher is the perfect figure of a deceiving stranger.  Any child watching the show would finally believe their parents when they say, ‘Never take candy from strangers.’” 

-The Hippodrome Foundation

“From the moment Wadsworth lunges on stage you know he is someone you would not want to meet in a dark alley.” 

-Classical Voice of North Carolina


The Santaland Diaries at Actors Theatre of Louisville


“In this one-man show Oliver Wadsworth scores impressively as Sedaris and all the other characters he mimics.” -Totaltheatre.com

“Wadsworth is hilarious in various incarnations, including pretending to be a bitchy elf wardrobe mistress and pompous Santa Claus who never breaks character.  As Sedaris and Crumpet, the versatile Wadsworth is sarcastic, funny, a little wicked and a touch sentimental.  Underneath this gnome’s cutting wit beats a big heart, though Sedaris and Crumpet would be the last to admit it.” -The Courier-Journal

“Wadsworth, already known to Louisville audiences as one of the finest players Actors Theatre ever presented in a previous production of “Dracula,” brought his usual limitless wellspring of energy to this show, bounding around the stage, standing on boxes, leaping on toy trampolines and going into abrupt and unexpected miniature skits and routines.”  -Leo Weekly  ​


Dracula at Actors Theatre of Louisville


​“But it’s Oliver Wadsworth’s tour de force as Renfield, the crazy but rather endearing fly-eating nut case locked up for treatment in the sanatorium, that makes the most vivid impression.  He is pitiable, crafty, agile as an acrobat and full of sly humor that gets the crowd laughing in between screaming at jumpy moments.” -The Courier-Journal

“The maniacally tragic asylum inmate, Renfield (Oliver Wadsworth) effectively steals the show, providing much of the comic relief as the burly orderly Butterworth chases him around the stage.” -Leo Weekly


Misalliance at Old Globe & Seattle Rep


​“…The WASPish, conceited, bright-but-ambitionless aristocrat Bentley Summerhays, the perfectly cast Oliver Wadsworth...” -The San Diego Union-Tribune

“Oliver Wadsworth is delightfully rotten as the overbearing ‘Bunny’ Summerhays." -North Country Times

“Oliver Wadsworth obnoxious and amusing antics as Bentley are reminiscent of “Saturday Night Live” alumnus Chris Kattan.” -Queen Anne News


​Endpapers at Variety Arts


“Oliver Wadsworth as a wonderfully bitchy manipulator who acts like Truman Capote trying to look like Tom Wolfe.” -The New York Times

“Last to arrive is Peter Long, a lissome novelist in a straw hat and a long silk scarf that seems to float around the stage on its own, a creampuff with a spine of tempered steel.  Oliver Wadsworth delivers him as one smart cookie who hides behind a fey exterior.” -The Irish Echo

“Greg Salata and Oliver Wadsworth provide amusing cameo turns as a pair of highly contrasting authors.” -Star Ledger



​The Pillowman at Actors Theatre of Phoenix


“If one has to single out the best of many wonderous performances it is Oliver Wadsworth’s superb Michal.  The role is one of the most challenging in recent drama.  The character has childlike simplicity and yet is shrewdly aware of what life has dealt him and his brother.  Wadsworth creates compassion in a masterful take on the character’s restricted intellect.” -KBAQ Radio

“The play is also surprisingly funny… with strong performances by Christian Miller as the writer and Oliver Wadsworth as his mentally damaged brother…” -The Arizona Republic​


Taming of the Shrew at Capital Rep


“Oliver Wadsworth is delightful.  He’s a classic Shakespearean comic.” -Times Union

“Wadsworth is wildly energetic and provides many of the shows biggest laughs.” -Metroland (Albany)

“Oliver Wadsworth, who last season made a supporting part in “Take Me Out” into a starring role, does the same with Grumio, as he turns Petruchio’s servant into a hilarious clown.” -Troy Record​


​Take Me Out at Capital Rep


​“Mason Marzac’s (Oliver Wadsworth) glee at acquiring the self outing Lemming as a client, and subsequent gloating to his gay snoddy neighbors, filled the theatre with laughs.  Wadsworth’s Marzac was a constant source of physical humor and a wizard of comedic timing, and his work getting the audience to do the wave created howls of laughs.” -Metroland (Albany)

“Oliver Wadsworth gives a tour de force portrayal of Mason… Yet he is able to offer insight and emotional balance as in an arrestingly delivered monologue in which he puts baseball in social perspective.” -Troy Record

“Wadsworth is superb as Marzac, capturing the lonely gay man’s burgeoning passion for baseball and delight in new friends.  Wadsworth’s Marzac has a bit of Molly Shannon by way of Truman Capote in him, and the combination is a hoot.” -The Daily Gazette


The Lieutenant of Inishmore at Actor’s Theatre of Phoenix


​“Oliver Wadsworth, who starred with Actors Theatre in ‘Pillowman’ and ‘Kiss of the Spider Woman’ returns as Padriac; bridging the gap between sadistic rage and madcap insanity.” -The Arizona Republic

“Wadsworth allows his character’s many idiosyncrasies to materialize cleverly throughout the play.  You never know what bizarre feelings and reactions Wadsworth will introduce.” -KBAQ Radio


Stones In His Pockets at Adirondack Theatre Festival and Actors Theatre of Phoenix


​“The play is a comic actor’s dream:  It allows the dynamic duo of Kirk Jackson and Oliver Wadsworth (last seen together in ATF’s winning production of ‘Art’) to play with 30 different characters.” -Metroland (Albany)

“Jackson and Wadsworth have a field day with this play.  Front and center are their nicely shaded and realistic portraits of Jake and Charlie, but their one-note and amusingly exaggerated depictions of the secondary characters are delicious.  Comic timing?  They’ve got it.”
-Schenectedy Gazette

“Wadsworth’s depiction of the film star’s attempts to master an Irish accent is worth the price of admission on it’s own.” -The Arizona Republic