Violet and Henry take a while to emerge as the heart of this play. Smart and promising, each of them commits a youthful error...For Henry (the excellent Ronald Peet), it was the one day of pot dealing that landed him in prison.
Ronald Peet, whose golden voice and charisma could melt even the worst February chill, sings the theme song to PLAYMONEY...And let me clarify, there is absolutely no question of Peet’s talents and abilities.
Ronald Alexander Peet is just excellent as M’s boyfriend. His character is the most levelheaded in the piece, which creates meaningful contrast in scenes that he is playing opposite his ambitious girlfriend.
As mother and son, [Rheaume] Crenshaw and Peet have glorious voices, and both deliver intense performances as the revolution changes their characters’ fates.
Teo, a rebel in Castro’s army, is grandly played by Ronald Alexander Peet. Teo’s need for love and communication is perfectly etched by Peet and his return to an ideology that may be ill-conceived is a chilling moment in the play.
[Julie Benko] is matched by the sturdy, eloquent voice of Ronald Alexander Peet, who plays Maria’s son, the fugitive Teo, who makes believable his need to participate in the revolution against Battista, who was responsible for sentencing his innocent father to death. For a good portion of the musical he must lay wounded, but that gives both him and Benko the chance to develop their characters’ relationship that bridges their cultural differences and is indeed one of “The Golem of Havana’s” more heartwarming elements.
Ronald Alexander Peet is handsome with a stunning voice.
Peet gives bright, expressive voice to the young rebel
The standout performances, both in terms of acting and singing belong to Rheaumee Crenshaw as Maria and Ronald Alexander Peet as Teo.
Also outstanding is Ronald Peet as the shepherd (he plays a great old man)
Ronald Peet and Chris Johnston bring comic delight to the roles of Portia’s suitors, the Princes of Morocco and Arragon. Mr. Peet seems to be channeling a little bit of Geoffrey Holder (cola nut, un-cola nut)
I am watching Peet—an attentive listener who, through his character, asks all the questions I want to and whose reactions to the news shared confirm for me that I’ve understood the material as well.
Shakespeare’s children can be irritating in a Tiny Tim kind of way, but Peet makes Arthur’s sweetness genuine. As mighty kings and mothers fight over him, Peet’s Arthur stands to the side trembling, and he has real fear driving his earnestness when he pleads for his life. We hang on every one of Peet’s words and lean forward in our seats hoping he succeeds in getting Hubert to melt, which [James] Keegan’s Hubert can’t help doing...King John is a play about a bumbling monarch, wind-blown noblemen, a disingenuous cleric, a hilarious bastard, and sniping mothers on a landscape of political upheaval. Peet and [Abbi] Hawk, between them, make sure that the true victims of such shenanigans get felt, if not heard.
Ronald Peet makes young Arthur a bright angel of humanity. It is easy to embrace the melodrama inherent in the role, but Mr. Peet makes Arthur wonderfully human.
Ronald Peet is a gentle, honest [Thomas} Cranmer who genuinely does not know how to dissemble in front of his determined enemy...with their mastery of the script, Mr. Peet and Ms. Thomason create characters that matter to the story.
Under the direction of Jim Warren, this season’s performers lavish their many skills upon Shakespeare’s story of political wrangling, war, excommunication and revolt. Among them: Ronald Peet as Constance’s gentle and ill-fated son
I fear I pound this point ad nauseum, but the key to such a production working is the company members’ skills in speaking Shakespeare’s (and Fletcher’s) verse, their total trust in Shakespeare’s (and Fletcher’s) script, and their innate understanding of Shakespeare’s (and Fletcher’s) staging conditions and how to make them work in the intimate playing space of the replication of Shakespeare’s (and Fletcher’s) own Blackfriars. The 12 actors also give 100 percent devotion to each of their characters, no matter how many they might play among the four-score-and-more in the play. Ronald Peet, for example, gives pompous authority to Cardinal Campeius while his Thomas Cranmer shows courage but a faith on the verge of unraveling in the face of the snowballing court conspiracy against him. At one point as Cranmer, Peet stands on the trial dock in perfect stillness, palms joined and pointing down like a monument of pious patience. Such details illustrate the thoroughness of the individual actor and the collective company, too.
I found Palamon’s (Ronald Peet) and Jailor’s Daughter’s (Allison Glenzer) portrayals to be most accessible. They also represent emotion, on the royal and commoner’s levels. Emotions lend to expressions, gestures, and action. Emotions allow Peet to stoke the fires of love into a hotter and hotter burn, climaxing with his appeal to Venus to guide him in the final challenge to the death. These lines are worth reading, hearing, and seeing.
The noble kinsmen are well played by Ronald Peet as Palamon and Grant Davis as Arcite. Peet and Davis have found their best roles of the season and play them with rare chemistry and camaraderie. Their performances are a large part of why the play we see is better than the one that was written.