Critical Acclaim

As Rigoletto in Rigoletto

But it was the vocal power and characterizations by Loyd, in the title role, coupled with the emotional turbulence and dramatic hammer blows of Verdi’s great score, that carried the night.

Physically compelling in his characterization of the hunchback court jester Rigoletto, Loyd mined dramatic material at every turn, whether cowering, raging or pouring affection on Gilda. His seething musing on his fate, to be mocked daily by those who stand straight and tall, “Pari siamo,” came across as a Shakespearean soliloquy writ larger than life.

Rigoletto is one of opera’s most complex characters, a man of fear and resentment, yet also nobility and love. These elements are revealed in his duets with Gilda (Verdi’s baritone/soprano, father/daughter duets are among his finest). The complexity of the character was portrayed in all of its subtleties.

Connecticut’s The Day

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

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

As Sweeney Todd in Sweeney Todd

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 (2007 production)

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 outrageousness of “A Little Priest.”

The Tulsa World (2014 remounted production)

As Marcello in La Bohème

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 Sharpless in Madama Butterfly

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.]


As Dulcamara in L’Elisir d’Amore

This opera succeeds or fails with Dr. Dulcamara, a comic archetype (think W.C. Fields) who is alternately blustery and wary, quick-thinking and buffoonish. Baritone Ron Loyd dominated the theater with his double-takes, his asides and tack-sharp comic timing that made a simple raised eyebrow speak volumes. His fast-paced sales pitch for his cure-all medicine – “Udite, udite, o rustici” – brings the opera to life in Act 1 and is the dominating motif in its musical and comic development.

The Day

As Figaro in Le Nozze di Figaro

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 Papageno in Die Zauberflöte

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

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 Journal

As Leporello in Don Giovanni

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

As Peter in Hansel and Gretel

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 Nevada

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 Schaunard in La Bohème

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 Lucas in The Reformed Drunkard

On Tuesday the strongest impressions were made by Anthony Wright Webb, a nimble tenor, as Mathurin, and Ron Loyd, a robust baritone, as Lucas. Both were agile comedians, manifesting a happy chemistry with each other and with the audience.

The New York Times

As Emile de Becque in South Pacific

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 Lamparilla in El Barberillo de Lavapiés

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.

The Tulsa World

As Don Bartolo in Il Barbiere di Siviglia

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 Ford in Falstaff

I particularly liked the scene in act two in which Ford and his crew find the young lovers behind the screen instead of Falstaff and Falstaff’s subsequent defenestration. It was clear that the performers cared as much about putting across the story as they did about singing. Ron Loyd was convincing as the jealous husband Ford

“Two on the Aisle” HEC-TV

As John Wellington Wells in The Sorcerer

Loyd is a commanding and mischievous presence as Wells, a kind of mirthful Mephistopheles, who nimbly handles the character’s introductory patter song.

The Tulsa World

As The Pirate King in The Pirates of Penzance

The principals seem to be having a grand old time. 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 Baker in Into the Woods

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-dropping 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 Fredrik in A Little Night Music

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 Henry Higgins in My Fair Lady

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 Herbie in Gypsy

Loyd’s Herbie is such an even-keeled fellow that his final outburst as he leaves Rose and her world behind is properly startling. And one wishes that the show gave him more opportunities to sing beyond the few snippets in “Small World” and “Together, Wherever We Go.”

The Tulsa World

As Pseudolus in A Funny Thing Happened on the Way to the Forum

Ron Loyd is Pseudolus, and he plunges into this role with undisguised glee. It’s maybe the most physical role he’s done in his six seasons with LOOK – he’s on stage for much of the night, and in more or less constant motion – yet his energy never flags, whether assessing the courtesans next door at the house of Marcus Lycus (a wonderfully campy Sean Stewart) or fending off the less-than-tender attentions of an enraged Miles Gloriosus (Patrick Howle).

Best of all, the role gives Loyd a chance to really sing, from the raucous opening of “Comedy Tonight” to the ironic reprise of “Lovely,” in which he tries to convince fellow slave Hysterium (Philip Skinner) to pretend to be a dead woman.

The Tulsa World


Beethoven’s Ninth Symphony

“…the superb guest quartet handled Beethoven’s difficult score, conceived in Beethoven’s imagination more as an instrumental than a vocal quartet, with virtuosic ease. Vocal highlights included baritone Ron Loyd’s dramatic declamatory introduction of the final movement’s choral section.”

Courtenay Cauble