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Ron Loyd, as Don’s valet and PR man shows great comic talent not only in his Catalogue Aria but in the balcony serenade that begins the second act.

The Albuquerque Journal

…his warm baritone offered one of the evening’s greatest musical pleasures

The Sondheim Review

(As Rigoletto) Baritone Ron Loyd played the lead role and turned a pathetic hunchback and court jester railing at the world into a cursed, but compelling figure, whose love for his daughter, Gilda, overcame his seething anger and self-hate. A series of duets between them, some of the most famous of Verdi’s arias, soared and shimmered.

Shoreline Times

Now, I must give out my comedy awards. Baritone Ron Loyd is hilarious as Papageno, a lazy, likeable soul who longs for his Papagena and somehow avoids harm in the midst of larger happenings.

Pensacola News Journel

A wonderfully moving performance by New York baritone Ron Loyd as the hunchbacked jester. This Verdi classic may not always seem totally believable, but in Loyd’s hands it’s quite touching. He’s able to squeeze every bit of emotion from the part to make us feel the pain of a man we really can’t stand.

Providence Journal

Ron Loyd blossoms from his earlier passages as a sturdy supporting player to an indispensable rock. This metamorphosis, brilliantly written into the score, happens as Violetta agrees to break off the romance and his suspicion turns into admiration for her character. Time and again throughout the rest of the show, Loyd added depth to everyone else on stage, [which] allowed Loyd to emerge as the opera’s surprise star.

Tampa Bay Times

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 an even greater emotional weight and gravitas. And Loyd accomplishes all this with the greatest economy – it’s a remarkable performance.

The Tulsa World

Loyd, who portrayed Sweeney in the 2007 production, is superb here. His performance is somewhat more muted because of the intimacy of the setting — he doesn’t need to do much to convey Sweeney’s fury and pain, or his bitter sense of humor. In any case, it’s all there in his singing — the contempt in “No Place Like London,” the heartbreak of “The Barber and His Wife,” the renewed sense of life brought about by “My Friends,” the rage in “Epiphany,” the humor at the out… Read more

The Tulsa World

It was the vocal power and characterizations by Loyd, in the title role, that carried the night. Physically compelling in his characterization…Loyd mined dramatic material at every turn.

The Day

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” was stunning in its ferocity, while in the quartet “Johanna” the weariness and pain of the character was inescapable.

The Tulsa World

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contact | ron@ronloyd.com/