"Mouse"

Jon South is enormously appealing as Henry; on the surface [Henry is] sure of what he is doing, but with a tendency toward unraveling at the seams. This is a well-forged rendition.

Robert Couture, WAMC

"The Dresser"

Giving a powerful performance in the title role, South is one of a handful of local actors who float between community and professional theatre; the talent required for the latter is on display in Schenectady.  South's Norman is real, and he makes his dramatic moments sting.

Michael Eck, Times Union

"Gunmetal Blues"

Sitting at the piano bar is Jon South, who serves up the role of washed-up lounge singer Buddy Toupee with flair.  Dressed in a "Casablanca" tux and a cheap hairpiece, South's slick delivery adds up to a Mr. Congeniality.  But beyond that, South also reveals a bold, expressive singing voice, as in "The Virtuoso" where his character bemoans the fate of performing show tunes instead of Chopin.

Marcus Kallpolites, Times Herald-Record

When the theatre-goers left the auditorium, it was Jon South's portrayal of Buddy Toupee that created a lasting impression. His opening number "Bon Voyage, Mon Voyeur" made a curious and moody invitation that surely and irrevocably drew the audience into the action. 

Barry Henck, Hudson Valley Newspapers

An actor who is consistently good in whatever he plays, South easily handles the daunting task of multiple personalities.  Buddy Toupee, the pushy cop, the deadpan cab driver, or the effeminate gangster (just to name a few), South's characterizations are distinctive and clear.  In a brilliantly directed scene, South changes roles as quickly as he changes his hats.  His performance is flawless, his portrayals wonderful, and his ad-libs keep you chuckling throughout.

Cynthia Caruso, Greenville Press

"June Moon"

Kudos to South (as a swinging-singing window washer) who only has to make an entrance to get a laugh.  South closes Act One by sitting at a piano and performing the hysterical, unexpected show-stopper "Hello Tokyo".

Katherine Ryan Aldrich, Poughkeepsie Journal

"Social Security"

As David, Jon South delivers an undercutting line with a precise timing and blase sophistication that is top-notch.  South is obviously into every bit of bite and nastiness in his role, which is just what the character requires.

Michael Eck, Times Union

"Eastern Standard"

Jon South is on the mark as Drew, the hip, acerbic Greenwich Village artist whose latest claim to fame is his painting exhibit of naked young men holding dining utensils. At first jaunty and jaded, South then peels Drew like an onion, revealing a vulnerable, emotional core as he falls head-over-heels in love with Peter.

Maggie Greenway, Chronicle Freelance

"Chapter Two"

As the well-meaning but meddlesome Leo, Jon South gives a high-grade performance in a role he stepped into two weeks before this production opened.  Wry and glib at the same time, South adds to his sketchily written character the weary resignation of a man locked into a marriage with the wrong woman.

Michael Eck, Times Union

"Death of a Salesman"

Delivering more fine work is Jon South, as Willy's torn and hopelessly lost son, Biff.  The suspenseful climax builds as South's Biff regresses in time, from a bitter thirty-four-year-old man, to a teenager making the shocking discovery of his father's marital infidelity.  The showdown between Biff and Willy, in which anger and truth-telling transform the play back into a tragic love story, is often painful to watch, and hits home with an emotional punch.

Laura Gentile,  JCA Herald

AND NOW, SOME STINKERS . . .

"The Most Happy Fella"

As Joey, the wayward, randy cowboy, South appears somewhat  uncomfortable, saddled only with a singing voice that's almost entirely off-key.

Martin Kelly, Times Union

"Charley's Aunt"

Starring in one of the three lead roles, South's single outstanding contribution is his monotonous, nasal voice.

Vinny Reda, Schenectady Gazette

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