It’s a given that their romance will have a rocky course, both helped and unintentionally hindered by the plotting of the parish’s official matchmaker, Mikeen Flynn (played with an air of elfin mischief by Samuel Cohen.)…
Cohen and Fitzgerald sing and dance together with seasoned flair, especially in their aptly-titled duet, “Dee-lightful is the Word.”
The performance of Samuel Cohen as the doubtful matchmaker is worth the ticket price alone. Paired up with Fitzgerald, the two make real magic and lift this often earthbound production to the heights it deserves to attain.
By Cahir O’Doherty
Kathy Fitzgerald… [is] beautifully matched in a nuanced yet hilarious, portrayal of Flynn by Samuel Cohen.
By Gwen Orel
The Irish Examiner
Samuel Cohen (Mikeen Flynn) portrays his quick thinking jack-of-many-trades with a particularly appealing, leprechaunish lightness of touch. A second act two-hander with innkeeper, Kathy, is charming.
By Alix Cohen
Woman Around Town
Especially good are Kathy Fitzgerald and Samuel Cohen, as a wealthy widow and wily matchmaker. Their chipper duet, “Dee-lightful Is the Word,” lives up to the title
By Joe Dziemianowicz
NY Daily News
Sam Cohen brings in the brogue and plenty of charm.
By Peter Filichia
Filicia on Friday
Burke’s original score … is most notable for its comic duets for Mikeen and Kathy, “I Wouldn’t Bet One Penny” and “Dee-lightful is the World,” both delivered with great panache by the big-voiced Fitzgerald and the adorable Cohen
By Brian Scott Lipton
Samuel Cohen … winning as the matchmaker.
By Matthew Murray
Samuel Cohen is outstanding as an impish magician called The Little Man, who cleverly introduces the audience to each scene with a silly magic trick or two. Cohen’s playful attitude lightens the dark subject matter of some of the vignettes, several referencing wartime and fascism, and his interactions and reactions draw the audience into the performance.
…As The Little Man repeatedly reminds us with his magic illusions, many things in life are not what they seem. Taken as a whole, “Ionescapade” reminds us that Ionesco’s ability to create a surreal alternative out of ordinary events remains resoundingly resonant.
Led by a mute, affable Samuel Cohen as the bowler-hatted guide to the amusement, the ensemble handles the rarified material with ease.
By Michael Sommers
I also enjoyed the antics of Samuel Cohen as the Ionesco figure, who acts as a silent master of ceremonies, introducing and sometimes taking part in the vignettes. Cohen endows his compere duties with an impish charm, combining corny but cute magic tricks with circus pratfalls.
By David Sheward
If not for Samuel Cohen, who plays an onstage Ionesco analogue known only as “The Little Man,” the non-sung portions would be a near-complete loss. But Cohen’s wino-inspired pantomime and magical way of introducing and playing out scenes is exactly in tune with the kind of sparkling unpredictability that this production needs more of. When he kicks up his feet, flails his hands, and throws a broad smile as he ushers you into a borderline-tragic reenactment of something or other, you feel exactly the appreciation, and apprehension, for nonsense Ionesco so embraced throughout his works.
A pleasing unit set by James Morgan and whimsical costumes by Nicole Wee guarantee that the production at least looks as vibrant as Cohen acts — and a bit of eye candy always helps sour pudding go down more smoothly.
By Matthew Murray
Future Perfect (Audiobook)
Samuel Cohen narrates at a good pace, alternating cleanly between the stories and the quotations, which are set aside from Johnson’s arguments by a variety of accents. … Cohen puts just the right emphasis on Johnson’s words, moving from topic to topic, and the jargon associated with each, with aplomb.
By Steven Johnson
There are strong performances by Cohen as Yentl’s conflicted father, Todrus, who teaches his brilliant daughter Torah knowing it will come to no good.
By Fran Heller
Cleveland Jewish News