"Exceptional singing, acting mark Arizona Theatre Company's 'Cabaret'. Sean Patrick Doyle, who changed costumes as frequently as Cher in concert, is the Emcee at the club. His voice is riveting, his body fluid and expressive. He gave us an Emcee we couldn't turn away from."
- Arizona Daily Star
"His voice is exquisite and his portrayal of the character was both chilling and soul wrenching."- Tucson MAC Award Nomination excerpt.
"Doyle and Micucci light the stage as they move to the music, both seeming to have been born to play their respective roles... it is Doyle's performance as the Emcee and other small characters that will amaze you. His vocal range in this show is nothing short of impressive. The Emcee brings the comedy and entertainment that is needed, but it was the song "I Don't Care Much" that left me speechless." - Front Row Reviewers
"Sean Patrick Doyle, angular and lithe, is well cast as the Emcee. His strongest moment is his second-act solo "I Don't Care Much," which he sings in a haunting falsetto, made more tragic by his mascara-streaked face and imploring, satin-gloved gestures." - Tucson Weekly
"Special mention must be made of Sean Patrick Doyle as the Emcee, who gets to deliver the iconic song Wilkommen, and move the play along its trajectory with a flair born of great dedication to this seminal role made so famous by Joel Grey." - Sun News, Tucson
"...the physically and vocally fierce Sean Patrick Doyle." - Matt Windman, AM NY.
"He's been cheating on both of the women - with a guy named Tremont (Sean Patrick Doyle, a scream)." - Marilyn Stasio, Variety
"...a flashy turn by Sean Patrick Doyle." - Michael Dale, Broadway World
"The rest of the cast is, in a word, sublime... They all sing with operatic grandeur and lyrical finesse without ever for a second condescending to or trivializing the people they play. One easy wink and 'Jerry Springer' could deflate." - Ben Brantley, New York Times
"The cast is exquisite with stand-outs such as Sean Patrick Doyle, who moves with such grace and elegance and breaks our heart with his love for Dwight... Vocally this whole cast is heavenly." - Suzanna Bowling, Times Square Chronicles
"The talented company - particularly Luke Grooms, Jill Paice, Tiffany Mann and Sean Patrick Doyle -combine skilled vocals with unabashed comic abandon." - David Sheward, Theater Life
"...an immensely talented group of misfits... Sean Patrick Doyle, who slinks about as a pencil-thin Mick Jaeger concoction named Tremont who is yet another of Dwight's liaisons and then the Angel Gabriel, both of fluid gender and tasty wickedness." - John Hohmann, Schmopera
"Sean Patrick Doyle is a fierce presence as Tremont, the "chick with a dick" of Dwight's dreams, delivering one of the catchiest numbers, 'Talk to the Hand.'" - David Barbour, Lighting and Sound America
"What motivates most of the people who are hosted by Springer is their need for a voice, from Dwight's sassy transvestite lover Tremont (an excellent Sean Patrick Doyle)..." - Brian Scott Lipton, Theater Pizzazz
"Rando's cast is sickeningly talented. Straddling the line between this operatic score and an epic farce that's never patronizing and always fully committed, you'll be just as out of breath as this cast that sweats from the many, many high notes... Sean Patrick Doyle's Tremont feels ever so nineties, strutting through the role, falsetto and all, and then donning a pair of sunglasses for the best boy drag since Gaga's Joe." - Keith Paul Medelis, Theatre is Easy
"Broadway regulars Terrence Mann, Will Swenson, Jill Paice, Jennifer Allen and Sean Patrick Doyle have terrific voices and throw themselves into the elaborate and immersive show in which most of the actors reappear in second roles." - Victor Gluck, Theater Scene
"Archibald Snatcher turns out to have an alter-ego: the "world famous" chanteuse Mme. Frou-Frou, whose politically incorrect torch songs (sung by Sean Patrick Doyle) and bizarre cheese-tasting waltz are among the film's highlights." - Barry Paris, Pittsburgh Post-Gazette
"...Other effective voices are provided by the likes of Tracy Morgan, Simon Pegg, Toni Collette, Nick Frost and original "Saturday Night Live" mainstay Laraine Newman, before a title song (written by Monty Python's Eric idle and sung by Broadway's Sean Patrick Doyle) nicely wraps up the most entertaining animated feature since 'The Lego Movie.'" - John M. Urbancich, Cleveland Sun
"Doyle as the darkly morose, misunderstood Derek captures all the edginess and quirks of an ill-defined superhero who sees the unlikely situation as a way to form a new identity. He is the play's surprise package ready to be opened." - Marcia Placito Morphy, Democrat & Chronicle
"Sean Patrick Doyle's Derek has impeccable comedic timing and is rife with eye-rolls and references to his "douche stepdad." Parents of angsty teens will know the type well, and Doyle does it to perfection." - Colin Fleming-Stumpf, Broadway World
"Just when you think it can't get any funnier, Sean Patrick Doyle shows up as Derek Shirley, a goth groupie who signs on to intern as a terrorist."- Beyond The Nest
"Doyle, a Miamian who has appeared on Broadway in "Kinky Boots" and "La Cage aux Folles," on national tours and on television, imbues Rexy with authenticity, angry pride and undeniable allure. When Rexy vanishes for a time, he's missed, and "Georgia McBride" is a better show whenever Doyle is onstage." - Christine Dolan, The Miami Herald
"Doyle has to play double duty as Casey's buddy Jason, a couch potato who has three kids of his own and rents the tiny apartment to high-school friend Casey and his girlfriend. While it was Lopez's genius to put one actor in the role of two, who couldn't come from more different sides of the human gene pool, Doyle takes it to the nth degree in the most side-splitting Jekyll and Hyde way as possible. That the same actor could be couch potato Jason and show stealing drag queen could make you want to see Doyle in an entire cabaret of his own. He's just come off of a two and a half-year run on Broadway run in "Kinky Boots," but he's originally from Miami. Lucky us and thanks, Joe, for casting Doyle." - Michelle F. Solomon, Miami Art Zine
"...ignoring the advice of Casey's long time friend and now paid landlord, Jason. (Sean Patrick Doyle in an excellent transition from Rexy). Now homeless, Casey totes his Georgia suitcase back to Cleo's Bar where Rexy, sober, dresses for his act. And here's a beautifully acted serious moment in the show as Rexy reveals his secrets." - Roger Martin, Broadway World
"...the real reason we're exhorting you to take it in: an opportunity for a mainstream audience to revel in the gloriously outrageous performances of Cartland, Wahl and Doyle... it's as "Rexy" that Doyle shines in the best speech in the play, a stirring 11 o'clock oration." - Bill Hirschman, Florida Theatre On Stage
"Sean Patrick Doyle shows phenomenal range in the double role of Jason, Casey and Jo's laid back, good ol’ boy landlord, and the wildly over-the-top transvestite, Rexy." - Tony Guzman, Miami Arts Lover
"Volpone's fools - a dwarf, a hermaphrodite, and a eunuch (the last played by the astonishingly voiced countertenor Sean Patrick Doyle)." - Alexis Soloski, Village Voice
Adding to the light-hearted feel of this production are a trio of singing, comically-costumed, accomplished actors who play Volpone's private entertainment squad: a dwarf (Teale Sperling), a eunich (Sean Patrick Doyle) and a hermaphrodite (Alexander Sovronsky). - Associated Press
"Volpone's other servants, the dwarf Nano (Teale Sperling), the eunuch Castrone (Sean Patrick Doyle), and the hermaphrodite Androgyno (Alexander Sovronsky), feel more ominous... these talented performers look a bit like The Joker's creepy crew in WB's Batman cartoons." - TheatreMania
"The elements of music, dance, and cabaret entertainment are introduced by the strange triumvirate of Nano, a dwarf (Teale Sperling); Castrone, a eunuch (Sean Patrick Doyle); and Androgyno, a hermaphrodite (Alexander Sovronsky). As part of Volpone's corrupt, but light-hearted household, they punctuate every point of the plot. - Curtain Up
"The incorporation of music very successfully sets the tone and the production is even sillier because of it. Volpone's trio of misfits Nano the dwarf (Teale Sperling), Castrone the Eunuch (Sean Patrick Doyle), and Androgyno the hermaphrodite (Alexander Sovronsky) perform most of the musical numbers." - The Easy
"As Nano, a dwarf; Castrone, a eunuch; and Androgyno, a hermaphrodite, Teale Sperling, Sean Patrick Doyle, and Alexander Sovronsky... their work is exceedingly giddy." - Backstage
"Providing some light and risque moments are Teale Sperling, Sean Patrick Doyle, and Alexander Sovronsky, as respectively, a dwarf, eunuch, and fool whom Volpone employs for various entertainments." - Judd Hollander - London publication The Stage, Epoch Times
"Three servants in fantastical costumes (by the inspired Clint Ramos) and zany makeup sing, dance and cavort throughout the play. Teale Sperling, Sean Patrick Doyle and Alexander Sovronsky give us tight, lively, well-choreographed ongoing mischief." - TotalTheatre.com
"In what can be considered casting genius, Sean Patrick Doyle dons the glam role Fruma-Sarah (Lazar's dead wife) and conjures up his inner Elphaba to glorious effect. Doyle, a countertenor, is quite simply amazing in what he pulls off and truly redefines this role for new productions to follow, if they dare."-Michael J. Roberts, Showbiz Chicago
"Also interesting is the fact that Sean Patrick Doyle is the first man to professionally play the ghost Fruma-Sarah (quite the scene stealer with his operatic falsetto notes and green-faced makeup)."
-Scott C. Morgan, Chicago Daily Herald
"'The Dream' sequence is funny and eerie, with Sean Patrick Doyle as an agile and spectral Fruma Sarah." - Alice Carter, Pittsburgh Tribune-Review
"In this production, Fruma Sarah is played by a man, Sean Patrick Doyle-who sings the full soprano melody, while layered in wild green makeup and sporting an enormous wig... Doyle sits on a castmate's shoulders, raising him above the crowd while his bottom half is concealed beneath a floor-length gown of rags. Fruma Sarah's song is easily one of the best moments in the show, as Doyle and his legs run around the stage like a scary game of backyard Chicken." -Dan Renzi, South Florida Blade
"In a wonderfully animated cameo, Sean Patrick Doyle plays Fruma-Sarah while dressed like a giant green goblin covered in jewelry." - Matt Windman, Theatremania
"Sean Patrick Doyle carries off the part of Fruma-Sarah as well as it can be done." -Chip Deffaa, Cabaret Scenes
"...Fruma Sarah, inventively portrayed as a ten-foot, green-faced apparition. As she sings her song, her voice reaches down into a lower register, suggesting it is either the reincarnation of Bea Arthur or the non-traditional casting of a male actor in the role always played by a woman. And beneath the layers of Mac make-up is indeed a man -- actor Sean Patrick Doyle -- pulling a vocal sleight-of-hand on the audience." -Robert Nesti, Edge
There's also a terrific "Dream" sequence, featuring an appropriately scary Sean Patrick Doyle as the very imposing 12-foot tall Fruma-Sarah."
-Steven Stanley, Stage Scenes LA
"Also fun is Sean Patrick Doyle as the towering ghostly Fruma-Sarah."-Pam Kragen, North County Times, San Diego
"Wig Out! also features... the pencil-thin- Gumby-flexible Sean Patrick Doyle as [Daniel T. Booth'] henchman, Loki. To watch these two work
the runway together is to enter a twilight zone where the natural laws of physics and biology seem to have melted and mutated."
- Ben Brantley, New York Times
"[Serena's] skinny, highly flexible sidekick Loki (Sean Patrick Doyle) is a great addition to the cast, adding a deliciously
sinister, snakelike patina to the underhanded tactics of Di'Abolique." - Winnie McCroy, Edge
"Especially vivid [is] Sean Patrick Doyle, whose amazing second-act runway strut is really a ball to watch." - Joe Dziemianowicz, Daily News
"Particular standouts... Sean Patrick Doyle, in a meagre but brilliantly executed role."
- The New Yorker
"Sean Patrick Doyle, as Serena's underling, is as rubbery a dancer as he is sneakily persuasive an actor." - Harvey Perr, Stage and Cinema
"The real theatrical fireworks in "Wig Out!" don't start until Act 2 when the House of Light squares off against the House of Di'Abolique, represented by Serena, played by the expansive Daniel T. Booth [and] Sean Patrick Doyle, whose dance number includes moves that go beyond human."
- Michael Kuchwara, Associated Press
"Also making strong impressions at the ball [is] Sean Patrick Doyle's Loki, who just might have the most flexibility outside of a Cirque du Soleil performer." - Dan Bacalzo, Theatremania
"Has Broadway ever had a harder-working chorus? The six men who make up Les Cagelles-the showgirls who back Zaza when they're not entertaining audiences on their own-perform Lynne Page's complicated and satisfyingly theatrical choreography as if they were born to it. Nick Adams, Sean A. Carmon, Nicholas Cunningham, Sean Patrick Doyle, Logan Keslar, and Terry Lavell are the names of these performers, and Johnson treats them like stars: each is allowed his own distinct personality onstage." - Hilton Ars, New Yorker
"Their plumage is wilting, their wigs are askew, and their bustiers keep slipping south to reveal unmistakably masculine chests. Yet the ladies of the chorus from 'La Cage aux Folles' have never looked more appealing than they do in the warm, winning production that opened Sunday night at the Longacre Theater... the Cagelles exude the raw pleasure of people being exactly who they want to be."- Ben Brantley, New York Times
"And there's plenty of wow whenever the burly drag-queen Cagelles are onstage. They've got terrific production numbers - one with beach balls (duck!), another on roller skates. 'We are what we are,' they sing. What they are is the fiercest bunch of wigged wonders in town." - Joe Dziemianowicz, NY Daily News
"Les Cagelles, the chorus of female impersonators who entertain with Zaza. These guys are equal parts naughty and tawdry...They perform Lynne Page's ambitiously athletic choreography with abandon." - Michael Kuchwara, Associated Press
"...and the glitzy and glittery Cagelles (Nicholas Cunningham, Nick Adams, Logan Keslar, Sean Patrick Doyle, Terry Lavell, and Sean A. Carmon, each and everyone startling while executing Lynne Page's spirited choreography.)" - David Finkle, Theatremania
"Les Cagelles of the affair make a prime sextuplet; each and every one of them enhances the evening's entertainment value...Choreographer Lynne Page keeps those Cagelles amusingly busy, whipping the title song to a delightful frenzy." - Steven Suskin, Variety
"The Cagelles...they are truly the best part of the show. Since there are only a handful of them, they are given more individual personality and masculine character than ever before... Doyle is absolutely sensational as one of the Cagelles."- On Off Broadway, Matt Windman
"In the musical's new Broadway production, there are fewer Cagelles, just six in all, and they have no illusions. What they are is right up front: very fit, unabashed gay men in wigs and heels, dancing in a seedy bar. These queens have muscle, and so does this revival. .... in the title number, which Johnson and choreographer Lynne Page turn into a knockout showcase for the outre Cagelles." - Adam Feldman, Time Out NY
"This production announces its intentions right away, with its drag chorus, Les Cagelles. They're not the collection of drag chorines you see in other productions of La Cage. They are six individual drag queens corralled into performing together. The casting of such distinctive performers as Terry Lavell, Nick Adams and Sean Patrick Doyle signals right away that any of the girls they play could headline."- Jonathan Warman, Gay Societies
"Les Cagelles, the rag tag chorus of men in drag are choreographed to be unpolished and there's a lovely charm to that. Of course it takes great talents to pull this off and the six performers are as gifted and funny as they are buff, which is to say very." -Roma Torre, NY1
"Les Cagelles, the drag chorus of saucy and skillful dancers, although here their number is reduced to six. (The lively choreography is by Lynne Page)." - Robert Felderg, NorthJersey.com
"Wrapping the production number We Are What We Are, the delightfully witty and athletic male performers cast as Les Cagelles - the chorus 'girls' at an outre nightclub on the French Riviera- tossed a few beach balls into the audience. The crowd, after having some fun, dutifully tossed them back, only to have the dancers hurl them out again. The boisterous back-and-forth escalated until one ball wound up in the mezzanine." - By Elysa Gardner, USA Today
"Not to be overlooked, of course, are the Cagelles. They are long, lean and gorgeous, with distinct personalities. And they sure can dance."- Elyse Sommer, Curtain Up
"Only half a dozen performers depict 'Les Cagelles,' but they are a springy, energetic crew who gaily romp through choreographer Lynne Page's frisky splits and can-can routines with well-knit precision indicative of the show's unassuming expertise." - Michael Sommers, NewJerseyNewsroom.com
"...unleashing the Cagelles. No mere chorus, these lovely laddy-ladies form a kind of feathered Voltron: an enormous, muscle-bound, boa-tentacled, zero-body-fat superorganism-all "muscles and tits," as the lyrics promise. More of the former, though: Lynne Page's dance numbers are athletic, even gymnastic, and we're very deliberately made to feel the effort that goes into performing them."- Scott Brown, New York Magazine
"There are only six Cagelles this time out, but each is a gorgeous vision and expert dancer, performing Lynne Page's campy choreography with abandon and pizzazz."- David Sheward, Backstage
"Then there are Les Cagelles (named below). Pared down from twelve dancer drag queens in the previous incarnations of the show, these six boys had the power of two dozen. They sing and dance and skate (yes, skate) their way into your hearts, as the heart of La Cage Aux Folles. Each one has special skills that are deployed more and more as the show goes on. I could write a whole column on how wonderful and talented each one of these boys is on their own. With five of the six Cagelles making their Broadway debuts, all I can say is, watch out Broadway! -Cabaret Exchange
"The Cagelles, the marvelous drag chorus of "La Cage aux Folles," spin, undulate and twirl gymnastically in the revival, directed by Terry Johnson and choreographed by Lynne Page." - Washington Post
"The dynamite performance of Liz McCartney (Ursula) is bolstered by Scott Leiendecker (Flotsam) and Sean Patrick Doyle (Jetsam). Thanks to the restoration of "Daddy's Little Angel," in which Ursula describes how she became Neptune's favorite daughter, we do not have to wait until nearly the end of the first act to enjoy a delightfully sardonic musical turn from the trio. That song makes for a fine introduction, but little can top the knockout sequence where Flotsam and Jetsam bring Ariel to Ursula." - Bob Rendel, Talkin' Broadway
"...her henchmen Scott Leiendecker and Sean Patrick Doyle (Flotsam and Jetsam). The three of them capture the essence of the film in the movement of her appendages creating all types of images while continually giving us the feel of fluidity. Each time the three appear, an electrifying magic occurs that ends in cheers from the audience." - Gregory G. Allen, Broadway World
"The electric eels Flotsam and Jetsam (the wonderfully smarmy Scott Leiendecker and Sean Patrick Doyle) achieve their signature glide on Rollerblades and wear glowing face paint and light-up fins." - Ronni Reich, Star Ledger
"Scott Leiendecker and Sean Patrick Doyle play Ursula's conspirators with serpentine smoothness." - Alice T. Carter, Pittsburgh Tribune Review
"Flotsam and Jetsam, played by Scott Leiendecker and Sean Patrick Doyle, respectively, are constantly moving about to create the idea of floating, are all a sight to behold. Flotsam and Jetsam also emanate evil with perpetual hideous scowls on their faces." - Debbie L. Hochberg, News-Record, Essex News Daily
"Liz McCarney, as the fearsome sea-witch Ursula, Scott Leiendecker and Sean Patrick Doyle, as a devious pair of electric eels rise above the text with amusing performances." - Simon Saltzman, Curtain Up
"One of the best instances of perfectly matched movements is during "Sweet Child" when the eels, Flotsam and Jetsam (Scott Leiendecker and Sean Patrick Doyle), move as one entity." - Jeremy Wermer, Media Mikes
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