HIGHLIGHTS OF SELECTED REVIEWS
Daniel Cantor
WATER BY THE SPOONFUL, Court Theater
A shrewdly cast and gorgeously acted show — with individual scenes that still dance around my head . . . Daniel Cantor, [makes] himself more vulnerable than I’ve seen him do before. Chicago Tribune, 3/14
Immensely gifted cast . . . near-operatic performances. Chicago Sun Star 3/14
It is the third resolution that will long remain in memory – Cantor’s self-absorbed, truth-resistant “occasional” user and Alvarez’s fallen and crushed mom, framed in an image of pietà. Behold the quality of mercy unstrained. Chicago on the Aisle, 3/14
A richly rendered, superb performance by Daniel Cantor . . . The performances, led by Cantor, are well on the mark. Jeff Zane Reviews, 3/14
IF I FORGET, Victory Gardens Theater
Cantor provides the right intellectual restlessness from the start, igniting the play. Chicago Tribune, 6/19
Embattled from the start, the human vortex in If I Forget is Michael Fischer [played by] Daniel Cantor, firing on all cylinders. Stage and Cinema, 6/19
A powerful performance and character study by Daniel Cantor … Cantor’s Michael is both funny and sad. Around the Town Chicago, 6/19
Daniel Cantor absolutely owns the stage as Michael. He spits out his dialogue like ammunition, igniting so much controversy and contrasting ideas that fuel family fires. Chicago Theater Reviews 6/19
Cantor’s Michael unleashes his full, righteous firehose of invective … — earning a strong round of applause on opening night. Chicago Sun Times, 6/19
RABBIT HOLE, GOODMAN THEATER
The performances are beyond criticism. Each of the five characters comes across with realism, credibility and humanity . . . they all seem born to play their roles. The obvious centerpieces of the ensemble are . . . Lia Mortensen and Daniel Cantor. Both capture the anger and frustration and agony of their situation without a misstep. Mortensen and Cantor create decent and intelligent people struggling to handle an appalling catastrophe . . . CurtainUP Chicago, 3/07
Cantor, making his Chicago debut is spot-on as the guy whose ordinarily ironic edge and easy way of being have been blown away in the most profound if superficially undetectable ways. Chicago Sun Times, 3/07
Performances from the entire cast are extraordinary . . . Cantor, as Howie, does a superb job of restraining what could be over the top moments of anger in a lesser actor. IL Newswire, 3/07
[Cantor] shrewdly captures the coiled-up, angry, decent, middle-age man disempowered by the vicissitudes of life. Chicago Tribune, 3/07
Perhaps some of the finest scenes are those between [Lia Mortensen and Daniel Cantor] as they vividly demonstrate differing styles of grieving, which create sharp dramatic relief. These two actors seem to be in touch with the writer and director in making these painful moments all too real. The 217, Champagne-Urbana, 3/07
BOEING BOEING, DRURY LANE OAKBROOK THEATER
Dan Cantor gives a sensational performance that is a nonstop showcase of physical and verbal comedy. Chicago Sun Times, 7/13
Each of the ladies have their moments but this farce is really Daniel Cantor’s show. He is a hoot in this show! Talk Theater Chicago Podcast, 7/13
As [Robert], the rubber-faced, putty-limbed Cantor mines comic gold, nailing the wide-eyed, corn-fed affect of a Midwestern boy who has never been anywhere more than, say, Sheboygan. Chicago Theater Beat, 7/13
What makes Drury Lane’s [Boeing] good for a laugh is the tremendously talented cast. Comedic timing is terrific among Nora Dunn, Tovar, and especially Cantor. MakeItBetter.net, 7/13
Dan Cantor shows incredible comic timing in this role. Around The Town Chicago, 7/13
MY NAME IS ASHER LEV, MILWAUKEE REPERTORY THEATER
Cantor is compelling throughout, making seamless transitions between his primary male roles as Asher’s stern but loving father and colorful but hardnosed mentor – two father figures who, much like Asher’s faith and his art, ultimately speak the same language, no matter how different the dialects may sound. Milwaukee Journal Sentinal, 10/10
The adaptation and direction work on the combined strengths of the three actors, Jonathan Bock as Asher, Cassandra Bissell as Asher’s mother (and the other female roles) and, in particular, Daniel Cantor as Asher’s father as well as the brash, demanding artist Kahn. Milwaukee Shepherd-Express, 10/10
Daniel Cantor is particularly impressive as a father who is proud of his son’s talent but not of his subject matter . . . If possible, Cantor is even better as a 70-year-old Jewish artist who takes on Asher as a protégé . . . With a few minor costume changes, he becomes Asher’s father, his artistic mentor, and his “rebbe.” Total Theater, 10/10
[My Name is Asher Lev] ranks among the best I have seen at the Rep in my 30 years of writing about the company. OnMilwaukee.com, 10/10
. . . two actors [Cassandra Bissell and Daniel Cantor] seamlessly transform into all the people important in Asher Lev’s life over a 2-year period. Most importantly, Bissell and Cantor superbly recreate his mother and father as they try to understand their child prodigy . . . Third Coast Digest, 10/10
MY NAME IS ASHER LEV, BARRINGTON STAGE COMPANY
. . . totally mesmerizing . . . On stage with all the players it becomes a balancing act of amazing dexterity. With Daniel Cantor as The Men and Renata Friedman as The Women, two actors effectively portray eight important people in Asher’s life . . . profound and powerful . . . a must see. Berkshire On Stage, 8/11
. . . two other actors to play a variety of men and women. Their presence transforms Asher Lev’s story into an intense, emotionally powerful drama . . . spectacular performances . . . Daniel Cantor plays all the male roles besides Asher. His segues between the stern, demanding Orthodox father and the completely different artist-mentor Kahn are fascinating and totally believable . . . presented with economy, intelligence and emotional heft. CurtainUP, 8/11
. . . depicted with heart-breaking clarity . . . an evening of riveting theater . . . the exactly right performances from [the] actors . . . Daniel Cantor portrays all of the men in Asher’s life, most significantly as Asher’s father, Aryeh . . . Cantor presents the man’s intransigence and religious conviction quite believably . . . remaining relentlessly honest throughout . . . exhilarating . . . Springfield/Hartford Examiner Arts Review, 8/11
. . . pointed, heartfelt . . . a profoundly moving evening of theater . . . Cantor and Friedman dodge wonderfully in and out of all of the influences in Asher’s life, artfully transforming from Rabbi, mentor, critic and Asher’s parents, investing each with a distinct and separate character . . . Schenectady Daily Gazette, 8/11
[My Name is Asher Lev] is graced with the talents of three marvelous actors . . . Daniel Cantor [plays] Aryeh Lev, Asher’s father . . . In this role Cantor is almost lyrically severe as his temper flares . . . As . . . Yitzchok, Cantor . . . marvelously [plays] a man whose sense of humor is tickled by a simple portrait of himself drawn by his nephew. As The Rebbe, he shows a side of wisdom that is unexpected and oddly heart-warming, but it is as . . . Jacob Kahn – an artist and a rebel – that Cantor truly shines . . . His strength in wisdom and capability is brilliantly shown through Cantor’s interpretation . . . one of those incredible theatrical events that will never leave you. Berkshire Advocate Weekly, 8/11
ARCADIA, AMERICAN CONSERVATORY THEATER
Arcadia requires first and foremost a bravura display of intelligent acting [and] that is what it gets . . . Cantor’s Septimus is a bright creation, feckless and insouciant with his superiors and shyly wonder-struck by his brilliant young student. SF Chronicle, 10/25/95
Daniel Cantor, Katherine Borowitz and Kimberly King are especially fine in a play that burns . . . SF Chroncile Weekend Guide, 10/95
Simply the most buoyant version of the comedy yet seen in this country . . . a solid bedrock of sensually alive performances . . . [A.C.T.] put together a cast that, almost without exception, brings Stoppard’s characters to life, individually, and in relation to each other . . . Cantor is a strong, smart, flip Septimus. SF Examiner, 10/25/95
Thomasina and Septimus are portrayed by Tina Jones and Daniel Cantor, both graduates of the ACT Advanced Training Program. . . both are glowing testimonials to A.C.T.’s training and bright promises for its future . . . Cantor endows Septimus with a charm and quick wit that get him out of several scrapes with the men and endear him to the women. San Mateo Times, 10/25/95
Daniel Cantor reveals unexpected depths in the role of the tutor. Daily Ledger-Post, 10/26/95
A.C.T.’s production draws heavily on the London and New York productions and comes out slightly ahead . . . As Septimus Hodge, Daniel Cantor makes intellect sexy. Bay Area Reporter, 10/26/95
The performances are particularly vital and dead-on . . . Daniel Cantor plays Septimus with assured dignity and a hint of bed-hopping brazenness. Santa Rosa Press Democrat, 10/95
DEATHTRAP, DRURY LANE THEATER
Daniel Cantor as Sydney Bruhl and Aaron Latterall as Cliff Anderson are brilliant together as they lock horns in their highly engaging cat and mouse exchanges, each performing magnificently. Buzz News Chicago, 6/16
Cantor is an excellent actor who handles comedy with just the right touch. Around The Town Chicago, 6/16
Cantor plays a slightly unstable, withdrawn and cynical artist with ease. Latterell’s performance as Cliff Anderson, a young dreamer hellbent on ‘making it big’, is outstanding. Together, they bring Levin’s 1978 smash to life in a powerfully gripping way. BroadwayWorld Chicago, 6/16
“…With an outstanding ensemble, intricate production team, creative ideas and careful direction, Drury Lane Theatre’s Deathtrap is the quintessential recipe for a perfect theatrical experience.” Chicago Stage Standard, 6/16
LOBBY HERO, STUDIO THEATER, WASHINGTON, D.C.
There are prized performances by the four-member cast . . . Daniel Cantor powers his way through in an adroit and humorous manner. On Line Critic, 5/26/02
Daniel Cantor brings a welcome gust of energy to the stage whenever he’s on . . . Montgomery Community Television, 5/24/06
Daniel Cantor is especially good as Bill, the over-confident cop. Talkingbroadway.com, 5/29/02
Daniel Cantor [playing] Bill . . . is a strong force you can’t help but feel – the anger, the fears, the hatred – are so palpable . . . The Review, 6/02
Mr. Cantor captures the cock-of-the-walk charisma of a man who does a dangerous job well, but he gives Bill genuine humanity. The Washington Times, 5/02
THE TEMPEST, AMERICAN CONSERVATORY THEATER
Daniel Cantor, thoroughly looks and sounds smitten with [Miranda], in a fine turn as Ferdinand. SF Chronicle, 1/26/96
[The actress playing Miranda] doesn’t essay a Miranda worth winning, though Daniel Cantor’s , yearning Ferdinand does his best to suggest otherwise. Variety, 2/5-11/96
Cantor’s yearning suitor keeps the romantic flame fitfully alive. SF Bay Guardian, 1/31/96
[The actress playing Miranda] is a breathtaking delicacy . . . Daniel Cantor’s Ferdinand, happily, is worthy of her. San Jose Mercury News, 1/26/96
I also admired Daniel Cantor as . . . Ferdinand. SF Weekly, 1/31-2/6/96
PAULUS, SILK ROAD RISING THEATER
Daniel Cantor was a powerhouse as Paulus. Chicago Sun Times, 11/13
The cast is strongly led by Daniel Cantor as the brutally abused Paulus. ChicagoCritic.com, 11/13
Daniel Cantor’s Paulus is never anything less than genuine and dedicated. Talkin’ Broadway, 11/13
In the title role, Daniel Cantor crosses all boundaries with believable passion and conviction. The Times of Northwest Indiana 11/13
WONDER OF THE WORLD, BARRINGTON STAGE COMPANY
Dan Cantor makes a charming, funny Captain . . . [with] crack comic timing. Boston Globe, 7/27/06
An enormously appealing, versatile cast . . . Cantor’s very likable Captain Mike is sweetly played. The Berkshire Eagle, 7/26/06
A wonderful cast have done a marvelous job . . . the cast is ideal . . . an expert , colorful and eclectic cast whose sharply honed [performances] linger so clearly in memory that one yearns to revisit them as one does old friends . . . first-rate actors . . . at one point I thought, ‘These people are so funny, I just want to hang around them more.’ I meant the characters AND the performers . . . played to the hilt by a wondrous cast . . . a perfect production, the performances exact and dead on . . . An attractive, talented cast . . . Dan Cantor is the likeable and loveable Captain Mike. VARIOUS PUBLICATIONS, Massachusetts, New York State, 7/06
RETURN TO HAIFA, NEXT THEATER
A gutsy, powerfully acted show. I emphasize “powerfully acted” for a couple reasons. Firstly, it’s the truth. The quartet of central performances – Saren Nofs-Synder and Daniel Cantor . . . and Anish Jethmalani and Diana Simonzadeh . . . are all very solid . . . Secondly, though, this is a play that needs powerful acting even more than most. Chicago Tribune, 2/10
Jethmalani, Simonzadeh, Cantor and Nofs-Synder are so good, both individually and in their respective relationships . . . excellent across the board. Chicagoist.com, 2/10
The cast, particularly Daniel Cantor [and] Anish Jethmalani were effective. Chicago Critic, 2/10
By curtain for the stunning world premiere . . . actors Daniel Cantor, Jethmalani, Simonzadeh, and Nofs-Synder appeared emotionally drained . . . tremendous acting . . . thoroughly effective. Evanston Roundtable, 2/10
The actors, exceptionally well cast to suggest “their roots,” are first-rate. Chicago Sun Times, 2/10
ROUNDING THIRD, HARTFORD THEATERWORKS
Actors step up to the plate as fine acting helps Rounding Third hit home . . . While Don is in the Catbird seat . . . gradually Cantor’s more civilized Michael becomes an equal, then a superior . . . the awakening Cantor makes it winning and funny. Hartford Courant, 9/7/05
This is an entertaining evening. Dykstra and Cantor work well together. New York Times, 9/11/05
Rounding Third hits comedic homerun . . . Actor’s Chemistry makes Rounding Third work . . . Cantor’s Michael touches every parent who has agonized over a child’s miseries. VARIOUS HARTFORD AREA PUBLICATIONS, 9/05
JACOB AND JACK, VICTORY GARDENS THEATER
Very solid cast . . . droll performances . . . with delicious veracity. Chicago Tribune, 5/10
Zacek assembled six phenomenal actors to play twelve different parts. The actor’s duality is recognized in physical and vocal distinctions . . . with the broadest ranges between Jewish immigrant and American stereotype, Daniel Cantor and Andrew Keltz deliver rich versions of both their roles. Chicago Theater Blog, 5/10
A tour de force . . . virtuosic dual role playing . . . ideally cast. Chicago Sun Times, 5/10
RESTORING THE SUN, CLEVELAND PLAYHOUSE
Daniel Cantor gives a crisp, energetic performance. Cleveland Free Times, 3/05
There are strong performances in Restoring the Sun . . . Cantor charismatically injects the right amount of hustle and doublespeak as the opportunistic consultant. Cleveland Plain Dealer, 3/05
THE LAST NIGHT OF BALLYHOO, MILWAUKEE REP; CINCINNATI PLAYHOUSE
There is acting excellence in abundance in Ballyhoo. Four players particularly deserve commendation . . . Daniel Cantor . . . plays [Joe] with force and conviction. Cincinnati Free Weekly, 1/27/99-2/2/00
Daniel Cantor gives a strong performance as Joe . . . Oxford Press, 1/27/99
. . . Staples superbly creates a thoroughly developed portrait of Sunny. As Joe, Daniel Cantor matches and equals her talent . . . [he is] direct, dynamic, and persuasive. Shepherd Express, 12/99
BRIGHTON BEACH MEMOIRS, WORCESTER FOOTHILLS THEATER
Cantor’s Stanley captures the strengths and weaknesses of a son eager to please . . . Not a false note is played by Cantor, not a word of dialogue is stilted or outdated or anything less than powerful and poignant. The News, Southbridge, MA, 10/10/91
Daniel Cantor, making his debut with the company, delivers a powerful performance as Stanley . . . Middlesex News, 10/1/91
Among the domestic crises occurring are the plight that [Stanley] — a show-stealing performance from Daniel Cantor — finds himself in . . . Worcester Telegram and Gazette, 9/30/91
MISCELANEOUS REVIEWS
(Picasso at the Lapin Agile, national production at Theater on the Square, SF, 1996-97) The good news is that all the newest members of the cast — all from the Bay Area — are more than equal to their New York counterparts. Contra Costa Times, 1/9/97
(The Last Schwartz, Contemporary American Theater Festival, 2003) Cantor’s Gene contributes grandly to the anguished family album . . . A fine chord is struck between hilarity and pathos. Washington Post, 7/23/03
(Relatively Close, Soho Playhouse, 2000) Dan is winningly played by Daniel Cantor. New York Post, 11/9/00
(Comedy of Errors, National Shakespeare Company, 1993) Daniel Cantor, who portrayed Dromio of Syracuse, took the stage with vitality . . . his experience showed in his snappy timing and quick retorts. South Bend Tribune, 7/9
For production galleries please visit: danielcantor.com
