12 Angry Men





"But it’s Licato who carries the heaviest load, evoking sympathy for a smelly, conniving layabout who’s as lazy as he is racist, and as proud as he is desperate. Davies accepts and needs the charity of the two brothers but winds up, unsuccessfully, trying to pit them against each other." - Jim Testa - New Jersey Stage


"Licato’s Rick is walking carefully in a delicate balancing act that pits his job against his family and his psyche against his sense of responsibility. He is a master of his craft, with forgiveness lurking just below the surface of his façade of gruffness with his son, but will they break through to one another before it’s too late?" - Q on Stage Blog


“...a performance that is pitched to a tension that allows for no caesuras.  It’s actable, then, and the actors at hand keep it edgily alive.  Mr. Licato, as Green Eyes, has a remarkable facility for simultaneously uttering threats and singing them:  when he suggests to Georgie, who may or may not have designs on his “girl” that one false step will see him taken for a “joyride,” the two syllables of “joy-ride” are separated and lifted into a birdsong falsetto that sustains the play’s doubleness while hinting, on a viciously human level, that Mr. Licato can imagine no more gratifying event.  The overtones grow from a realistic psychology.  As Mr. Licato carefully breeds rivalry between the two men who might like to share more than his cell, driving one of them to circle the other manically before an attempt is made at his throat, the skilled playfulness of his malicious mind is so graphically charted as to make the baiting seem child’s work. ” -  Walter Kerr, Sunday New York Times

“Frank Licato creates a creature and performance on a higher plane” - Mel Gussow, New York Times


(Best Actor - Boston critics)

“Vukhov, played with hypnotic force by Frank Licato.”

“There is not a seconds pause in the horror, and the terror that draws the audience together is claustrophobic, relentless, unforgiving.  The brute wilderness off beyond philosophy and moral imperatives - wails behind Licato’s words.  His performance is haunted and haunting.  So is Judgement” - Kevin Kelly, The Boston Globe

“A legendary performance.” - Robert Brustein


(Best Actor - Boston critics)

“Actor Frank Licato, however, is the shows compelling feature.  He’s the most un-Victorian of actors.  His period costume, his walking stick and top hat don’t come naturally to him.  And his patterns of speech have their roots on this side of the Atlantic.  But Licato is a subtle artist.  Listen as his lines gradually lengthen from fatigue and despair when his double self gains sway.  Watch his diabolical transformation(it’s accomplished quietly without Barrymore or Chaney histrionics) the stride regressing into a slouch, the intelligent stare shading into a feral glint, the slurred speech oozing from a distended mouth, the supple hands twitching and thickening.  It’s as if Satan were scrawling his signature across Jekyll’s soul.” - Arthur Friedman, The Boston Herald

“Frank Licato’s torment as he moves between the human and the animal, the rational and the unconscious, is reflected in a musical score by turns lyrical and fragmented.  By the end Jekyll’s anguish is completely our own;  we want to be redeemed so intensely that we are rooted to our seats.” - Kathleen Cushman, Harvard Post


“Frank Licato, as the possessed civil servant, displayed great emotional and physical sensitivity.” - 

“...the work was exemplary.” - Gordon Armstrong, State University of New York, Stony Brook

“What I liked best about Geoffry Rush’s “Madman” was the highly theatrical design—super-saturated textured sets by Catherine Martin (famous for designing everything you’ve ever seen by Baz Luhrmann) and stark, expressionistic lighting by Mark Shelton. For all the show’s star power and scenic dazzle, it didn’t bring me nearly as close to the heart of Gogol’s story as a very simple production I saw in Boston in 1979 performed by a single actor named Frank Licato with no fancy lighting or sets. I have an indelible memory of a moment in the show where Licato simultaneously played the supervisor aggressively shouting at Poprishchin and the man being shouted at. I treasure that moment of surprising mastery probably the same way Sydney audiences relish the first time they saw an unknown actor named Geoffrey Rush onstage. Context is everything, isn’t it?” - Don Shewey - www.donshewey.com