Press
As Sweeney in Sweeney Todd
“Loyd can splendidly control the action as Marcello must do. The chemistry between [soprano Leslie] Umphrey and Loyd as the separated, but-not-really separated lovers is exhilarant, forever teasing and baiting each other with ever new torments. They form the explosive counterpoint to the gentle pathos of Roldolfo and Mimi in the third act.” – The Albuquerque Journal
As Marcello in La Bohème
“'South Pacific' is a show where voice is character - how the performer sounds is just as revealing as the words spoken or sung. One needs to literally hear the clash of cultures that fuel the musical's story. It's not a matter of accents. It's the contrast of a European sound with an American sound, of opera set against Broadway.
And in Ron Loyd, this 'South Pacific' has found an Emile de Becque who delivers above and beyond the call. His voice is warm, resonant and powerful, and it gives the songs de Becque sings ('Some Enchanted Evening,' 'This Nearly Was Mine' even the spoof of 'I'm Gonna Wash That Man Right Out of My Hair') an even greater emotional weight and gravitas.
You believe he is a man who has seen too much, who has gone through terrible things and yet still holds out for a new chance at love and happiness. And Loyd accomplishes all this with the greatest economy – it's a remarkable performance.” – The Tulsa World
As Emile de Becque in South Pacific
“Baritone Ron Loyd, last season’s Marcello in La Bohéme, returns to sing the title role full of zest and physicality. He commands the stage easily and with great animation, especially in the final act Tutto é disposto.” – The Albuquerque Journal
As Figaro in Le Nozze di Figaro
“As Sharpless, the facilitating bureaucrat with at least a smidgeon of a conscience, baritone Ron Loyd offers a warm, even comforting voice as he with his pandering, ineffectual disapproval suggests to the young girl that the marriage may not be all she believes it to be.” – The Albuquerque Journal
“Ron Loyd’s Sharpless was a poignant and sympathetic American Consul.” – El Paso Inc.
“Ron Loyd, excellent as ever” – Mobile Register
“El público recibió también atento el conocido dúo de la carta “Ora a noi”, en el que todos agradecimos gustosamente el agradable color de voz del barítono estadounidense Ron Loyd.”
[“The public also attentively received the well-known letter duet, “Ora a noi”, in which all we gladly thanked the pleasant color of voice of the American baritone Ron Loyd.”] – Siempre!
As Sharpless in Madama Butterfly
“Ron Loyd is Peter, the father. Loyd, impressive early on, is most impressive in the opera’s closing scene after the witch’s gingerbread demise, when - in a variation on the prayer theme – he sings joyously of virtue as its own reward.” – Jack Neal's Master Reviews at NevadaEvents.net
“Ron Loyd, playing Hansel's and Gretel's father, was able to rise above the orchestra throughout the production” and “boasts a beautiful tone.” – Reno Gazette-Journal
As Peter in Hansel and Gretel
“Loyd is nothing less than marvelous. He plays Lamparilla with a slyness that hints at his recognition of the needless absurdity of the story, although he's not above letting himself look foolish to get a laugh.
Zarzuelas are notorious for the demands they make on singers, particularly the men. Lamparilla is practically a tenor role, but although Loyd spends the night singing near the top of his range, his voice has a marvelous warmth and ease, from the patter-type rhythm of "Yo fui paje de un obispo" to his recitation of life in prison in 'Por salvar . . . yo no sé como' to his playful duet with [mezzo soprano April] Golliver in the gently salacious 'Una mujer que quiere ver un barbero.'” – The Tulsa World
As Lamparilla in El Barberillo de Lavapiés
Ron Loyd had “...consistent vocal ease as well as dramatic flair well above the rest. A vivid stage presence with a mobile face, the rich-voiced Loyd used his abundant musicality and comic inventiveness to create a winning portrait of the irrepressible Papageno.” – The Albuquerque Journal
“Ron Loyd, un Papageno spiritoso, dalla voce corposa e buona pronunzia tedesca.” – Il Giornale d’Italia
As Papageno in Die Zauberflöte
“Ron Loyd captured the baker’s child-like innocence at its happiest in ‘It Takes Two’ and at its lowest in ‘No More.’ As an ensemble, the company handled Sondheim’s densely packed, conversationally poetic lyrics with seemingly casual grace – the rapid-fire, five-way patter of ‘Your Fault,’ to cite the most obvious number, was jaw-droppingly good." – The Tulsa World
“The Baker’s humanity and fundamental decency played to Ron Loyd’s strengths as an actor, while his warm baritone offered one of the production’s greatest musical pleasures.” – The Sondheim Review
As The Baker in Into the Woods
“Baritone Ron Loyd walked just the right line between buffoonery and dignity as the foolish old Dr. Bartolo.”
“…the splendid team of singer-actors romped through the opera’s ongoing high jinks like an operatic version of the Marx brothers let loose on the set, all the while singing in Italian with stylistic flair and understanding.” – The Albuquerque Journal
As Bartolo in Il Barbiere di Siviglia
“Loyd was strong as the most industrious of the four [men], musical and solid and aware of his role in the group.” – The Des Moines Register
As Schaunard in La Bohème
“Loyd…you may well remember as last season’s excellent Figaro…enters as the Warden with a farcically inebriated pantomime. One would be hard-pressed to find a funnier opening to Act Three in any production.” – The Albuquerque Journal
As Frank in Die Fledermaus
“Ron Loyd as the Pirate King employs a plummy tone and sharp sense of comic timing, and isn't afraid to look completely foolish, as in his drunken pratfalls during ‘A Most Ingenious Paradox.’" – The Tulsa World
As The Pirate King in The Pirates of Penzance
“Loyd is excellent as Fredrik, a man more bemused by than bemoaning of his enforced chastity. He also drops some of the show's sharpest jokes with great nonchalance. His singing throughout is impressive, from the interweaving trio of "Now," "Later" and "Soon" to "You Must Meet My Wife" to his verbal duel with [Carl Magnus played by Patrick] Jacobs in "It Would Have Been Wonderful."
“[Andrea Leap as Desireé] and Ron Loyd have a marvelous chemistry, an ease in each other's presence that bespeaks a long, intimate and — in her case, at least — unregretting relationship.” – The Tulsa World
“Loyd and Leap are perfect on stage together and his performance as Fredrik is thoughtful and sincere. He's a man with no ulterior motive, who only desires love and happiness. But who isn't incapable of seeing the humor in his situation with Anne.” – Urban Tulsa
“Loyd’s opulent baritone and nuanced phrasing were musically gratifying. Sondheim and Wheeler’s portrait of a man in the grip of mid-life confusions also proved a good dramatic fit for him: Loyd communicated the comedy and pathos alike of Frederik’s efforts to ‘renew his unrenewable youth.’” – The Sondheim Review
As Fredrik in A Little Night Music
“But everything really comes down to how well the leading players work out the battle of wills between Professor Henry Higgins and Eliza Doolittle, the Cockney flower girl he intends to transform from her lowly status through elocution exercises.
The answer is that Ron Loyd and Andrea Leap make these characters very much their own, taking their cues more from Shaw's play than from the more cuddly characterizations of the film.
Loyd gets across the arrogance and single-mindedness of Higgins well — you believe it when other characters refer to Higgins as a bully — even when the control Higgins has always exercised over himself and his surroundings slips, and he finds himself vulnerable for the first time in his life.
Loyd also actually sings the role — something that Rex Harrison, on stage and in film, could not do — and his way with the comic "I'm An Ordinary Man" and the poignant "I've Grown Accustomed to Her Face" is winning.” – The Tulsa World
“Loyd was exceptional as Higgins and probably my favorite performer of the evening. His gorgeous, booming voice was accentuated by fine acting. His portrayal of Higgins as a cantankerous but lovable bachelor was spot-on.” – Urban Tulsa
As Henry Higgins in My Fair Lady
“Then there's the cast. Oh my. Let's start with Loyd, who is almost unrecognizable until he begins to sing. And sing he does, in a performance that is electrifying in its intensity. His "Epiphany," when Todd begins his crusade to rid the world of people, was stunning in its ferocity, while in the quartet "Johanna" the weariness and pain of the character was inescapable. His Sweeney Todd is a monster, true, but a very human, almost understandable, one – a monster who conjures up feelings of horror and pity in equal measure.” – The Tulsa World