Press

Eric, The White Card, A.R.T./ArsEmerson, 2018

“The world premiere of Claudia Rankine’s The White Card is a must-see event for Boston theater. …absolutely impeccable performances [from] the cast: Karen Pittman as Charlotte, Patricia Kalember and Daniel Gerroll as Charles and Virginia, Jim Poulos as Eric, and Colton Ryan as Alex.”

—Clinton Campbell, EDGE Media

“…an engrossing, dispiriting and raw examination of the fault lines between the races. The confrontations onstage are likely to land in our own conscious leaving much to reconcile. It’s not often that theater, as a looking glass, is this crystal clear.”

—Jared Bowen, WGBH

“The cast is uniformly terrific.”

—Michael Hoban, The Theater Mirror

“Playwright and poet Claudia Rankine steps boldly into the breach to begin a conversation and challenges us to stay in the room… Poulos shows that Eric is primarily an intellectual man of taste and out of his element when the family’s volatility erupts.”

—Nancy Grossman, Broadway World

“The cast navigates the wordy material well, and Rankine observes the details of white complacency with piercing vision.”

—Jeremy D. Goodwin, WBUR

“The actors’ skill and passion to tell this story were equal to the exalted level of artistry of Ms. Rankine, Ms. Paulus, and the rest of their visionary creative team. “

—Dr. Al Chase, The White Rhino Report

Terje Rød Larsen, Oslo, Rep Theatre of St. Louis, 2019

“Fact-based ‘Oslo’ is hilariously brilliant…Woolf elicits fine performances from a cast that deftly negotiates the play’s engaging shifts in mood and tone.
“

—Calvin Wilson, St. Louis Post-Dispatch

“‘Oslo’ is an intense ride through personalities, history and international politics, with surprising results…a high energy show that bristles with carefully guarded, albeit sometimes giddy, excitement….Jim Poulos is filled with a tireless, passionate energy as Rod-Larsen, and he is the driving force behind this dense, but immensely watchable play. Rod-Larsen is the fulcrum around which the entire peace process is balanced, but he’s not the most stable of elements. Poulos’ tightly wound, passionately committed approach to the character feels reckless, but somehow under control, both in the story and character dynamics. …When Bose, Graney and Poulos interact, the show is electric, genially chaotic and ripe with possibility, adding layers of interest to an inherently compelling story.”

—Tina Farmer, KDHX

“…a gripping drama with a surprisingly intimate vibe.”

—Judith Newmark, St. Louis Jewish Light

“Jim Poulos is charming, even musical, as Terje (the sociologist) and his outsider status serves everyone nicely….yes: Oslo has lots of laughs, at very regular intervals.”

—Richard T. Green, Talkin’ Broadway

“Steven Woolf, The Rep’s Augustin artistic director, makes his final directorial effort at the helm of The Rep a smashing success with this riveting, superbly acted and beautifully modulated production of the unlikely drama which won the Tony Award for Best Play in 2017….The ensemble’s acting is precise and disciplined in all respects…His Rod-Larsen is full of idealism, energy and a driving, vain desire to accomplish something his more recognized American counterparts cannot…Oslo is a fascinating story superbly told.”

—Mark Bretz, Ladue News

“The Rep’s ‘Oslo’ Pops With Personality, Sharp Dialogue…The cast is superb, handling the complicated themes and dialogue with care so that even those who are too young to remember the actual events can feast on the tension and the triumph contained in this remarkable play….Jim Poulos and Kathleen Wise play married couple Terje Rod-Larsen and Mona Juul, Norwegian diplomats who first dreamed the impossible as do-able. Against all odds, they remain a close-knit team throughout the brutal negotiations. Using wit, intelligence, determination and yes, the best waffles in the known world, these two are key in holding both parties at the table….Poulos and Wise, along with several others of the cast, are Rep favorites. Poulos played Hamlet in the Rep’s 2017 production, and Wise was seen in “The Humans” in 2018. They both do an extraordinary job navigating us through the various twists and turns of the plot.”

—Connie Bollinger St Lous Limelight

“The St. Louis Rep’s production of the play — which won all sorts of awards in New York in 2016-17 — is a wonder to behold, partly because of Rogers’ words, but mostly because of the performances of the cast of more than a dozen actors…. Jim Poulos and Kathleen Wise are also top-notch as the Norwegian couple who manipulate both parties towards frank discussions and serve as our narrators throughout. Frankly, there’s not a weak spot in the cast, nor in the direction of Steven Woolf, who is stepping down as The Rep’s artistic director after 32 years, leaving quite a legacy of brilliant theater behind….Nonetheless, “Oslo” makes for a gripping theater experience. I give it a 9 out of 10.”

—Paul Harris, Harris Online

““Oslo” at the Rep is a Multi-Faceted, Fascinating Drama…The technical aspects help to set the stage, but the performances are what carry the weight of this excellent, thoughtful script. The central figures, Terje and Mona, are embodied expertly by Poulos and Wise, who have strong chemistry that make them believable as a married couple, as well as a great deal of energy and determination. “

— Michelle Kenyon, Snoops Theatre Thoughts

“A very successful show, with fine acting.”

—Ann Pollack, St. Louis Eats and Drinks

“Poulos possesses enough contagious affability to win over any leery foreign delegate… all give sharp performances…”

—StL Theatre Snob

Utah Shakespeare Festival, 2019

King Henry VI in The Conclusion of Herny VI, Parts Two and Three

“Contrary to popular opinion, it is not good to be king. That was the takeaway message from USF’s four-hour production of “Henry VI: Parts Two and Three,” even if the only person in the show who seemed to know it was the only man wearing the crown for any length of time. …Jim Poulos played Henry VI as a man who possessed genuine depth and sensitivity, even if he couldn’t empathize with his warring nobles and relatives.”

—Cristy Meiners, Deseret News

“Henry VI is Shakespeare’s weakest king, and Jim Poulos was superb at showing the king’s inadequacies. Poulos gave Henry soft, careful steps, and the gentleness of his voice showed why the nobles would think that they were able to overthrow him. In Part Three, when Henry tried to justify disinheriting his son, he turned into a sniveling coward in the face of the wrath of Queen Margaret. Another illuminating moment occurred in Part Two, when Henry reminded his entourage, “Blessed are the peacemakers.” It was one of Henry’s most animated moments, and the sincerity that Poulos gave the line showed Henry’s naiveté that a few words of scripture would be enough to assuage a political conflict.”

—Russell Warne, Utah Theatre Bloggers

“Jim Poulos expertly inhabits the role of timid King Henry VI — a seemingly kindhearted but naive ruler who is obviously in way over his head.”

—Brian Passey, SU Independent

This is a true ensemble piece. Most actors play multiple characters within these epic stories. Together the actors band together building up moments rather than individuals. It is a treat to watch Jim Poulos* (Henry VI) throughout the three plays and two seasons. We see his character at his highs and lows and yet all the time he is relatable even if you wish he had the backbone of his wife. This is the mark of someone who has committed to the character. Even with such a weak king, Poulos finds humanity and plays it.”

— Alisha Hagey and Jason Hagey, Front Row Reviewrs Utah

Utah Shakespeare Festival, 2018

King Henry VI in Herny VI, Part One

“Jim Poulos is marvelous as the fey, inexperienced ruler.”

—Cristy Meiners, Deseret News

“Jim Poulos plays Henry VI as a weak leader unable to make decisions for himself. The meekness of the character comes to the forefront early when a fight breaks out in his court, and he had difficulty stopping it. Poulos was excellent at displaying the hesitation and uncertainty of Henry and showing why Shakespeare believed that weak kings were dangerous for the country. An especially nice scene showing Henry’s psychology happened when he met Lord Talbot, which made Henry star struck and in awe of the great warrior—exactly the opposite reaction that a king should have in that situation.”

—Russell Warne, Utah Theatre Bloggers

“Oh, and this play is named for an English royal, so let’s not forget him. While Henry is almost a side character in his own play, Jim Poulos plays the young king with an endearing charm, full of youthful candor and a generous dose of naiveté.
It’s actually quite moving to see Henry’s naiveté fade somewhat in the second half as he’s forced to referee the beginnings of the War of the Roses, which will be encapsulated in “The Conclusion of Henry VI, Parts Two and Three” during USF’s 2019 season.
Poulos is also the recipient of another lovely costume design by Roark, who has truly given us some of the best costumes to ever make their way to the stages of the Utah Shakespeare Festival.”

—Brian Passey, SU Independent

*Shakespeare’s Henry VI, Part I at the Utah Shakespeare Festival in Cedar City is a Brilliant Production of a Rarely Seen Play*
“Jim Poulos’ Henry VI is the weakling that you come to expect through his portrayal in history, but Poulos makes Henry more layered than that. You really feel his intentions to be the very best king he can, to follow in his father’s large footsteps, and overcome his own youth and immaturity. Poulos’ Henry struggles with his imperfections and weakness. He brings an honesty that many of us can relate to: you do your best but you can’t always overcome your own shortcomings.”

—Jason Hagey and Alisha Hagey, Front Row Reviewrs Utah

Jim Poulos’s King Henry VI was clearly out of his depth at mediating between the factions, and the actor’s apparent youth augmented this. As he doled out titles, banished traitors, and whimsically chose a rose to wear, he seemed more like a child playing king than an actual king.

—David W. Hartwig, Blogging Shakespeare

The Duke in Big River

“Chris Mixon as The King and Jim Poulos as The Duke were an enjoyable duo.”

—Russell Warne, Utah Theatre Bloggers

Mixon and Poulos are fabulous as these two rotters

—Jennifer Mustoe and Craig Mustoe, Front Row Reviewers Utah

“Levity, albeit a sinister sort, is provided by Chris Mixon as The King and Jim Poulos as The Duke.

—Ryan Painter, KUTV

Chris Mixon and Jim Poulos have a “corrupt Timon and Pumba” thing going on as the con men who hitch a ride on Huck and Jim’s raft.

—Jonathan Decker, LDS Magazing

The Host of the Garter Inn in The Merry Wives of Windsor

…Jim Poulos with his delicious delivery and diction (“He gives me the potions and the motions”) as Host of the Garter Inn…”

—Brian Passey, SU Independent

…This production is bolstered by a solid cast of actors who each embrace their character and play their parts to the fullest. …As said before: It is a lot of fun.

—Hollie Reina, St. George News

…the actors carried out Barnes’s vision well, and their singing was lovely.

—Russell Warne, Utah Theatre Bloggers

Great performances all around.

—Jonathan Decker, LDS Magazing

Hamlet, Hamlet, Rep Theatre of St. Louis, 2017

“It has taken the Repertory Theatre of St. Louis 51 years to get around to Hamlet. It was worth waiting for. …as the Danish prince, Jim Poulos gives the kind of performance that we go to the Rep in hopes of seeing: supple, articulate, heartbreaking. …Poulos’ animated take on Hamlet impels him to take command of the whole stage. …Poulos leaps up steps and flings himself to the ground; he collapses into the arms of his troubled mother, Gertrude (Robynn Rodriguez), and seizes his beloved Ophelia (Kim Wong, in a tender, girlish performance) in tight embraces, even as he tries to drive her away with his words. …Poulos gives us the romantic Hamlet of the great soliloquies. …the play belongs to Hamlet, the kind of romantic hero you want to protect or maybe to love. This entirely valid interpretation makes “Hamlet” the revenger’s tale into “Hamlet” the tragedy.”

—Judith Newmark, St. Louis Post-Dispatch

“Unapologetically dramatic and thrilling in its pursuit of justice, Hamlet finally arrives at the most prestigious theater in St. Louis. It’s his first visit ever to the Repertory Theatre, in 51 seasons. And he’s alive and kicking, under the direction of Paul Mason Barnes. Which is not to say this newest Hamlet, Jim Poulos, is unsubtle, or overly dramatic—he knows when to go deep inside, and when to come out fighting as well, though it’s more often a war of nerves. But it’s also a pleasure to hear Shakespeare’s great introspective monologs flow beautifully from his mouth in quieter moments. Still fitted with a college boy’s bawdy sense of humor, and awestruck mind, this Hamlet is (of course) also replete with a young man’s idealism. Every new turning point in the plot presents him with a new moral landscape. He also gets in a remarkably full repertoire of sexual jokes, more or less within the bounds of the script. …There’s a whole lot of invention in this particular prince, making him deeply lyrical, but also a reckless, threatening sprig of a man-child. And the investment of character and circumstance all across the stage (in just under three hours) is highly impressive. For Mr. Poulos, in the title role, it is the kind of huge canvas that an actor dreams of, all his younger days. With the help of director Barnes, he takes full advantage of the opportunity, sometimes as a sort of Jackson Pollock, painting the stage with chaos. But just as often, in the quieter moments, he’s a Vermeer, a master of psychological clarity and quiet perspective. We don’t ask, so much, “Is he mad?,” because of course others see the towering ghost of his noble father, too. But we may ask, “Is he a good young man, in a reckless time of life, cursed with an awful circumstance? Or is he always going to be this way: a bad boy, blessed with a poetic heart?”

—Richard T. Green, Talkin’ Broadway

“Jim Poulos brings something slightly wacky and different to his exceptional performance as Hamlet. It’s a surprisingly off-beat portrayal that’s even a bit comical at times, perhaps a reflection of the madness in Hamlet’s method. But the humorous moments only appear to mask his deeper resolve to see justice served. The characterization is still angst-ridden, introspective, and tortured, but Poulos makes his Hamlet seem vibrantly emboldened as well, with a renewed sense of purpose as a result of his ghostly encounter, and you’re with him all the way.”

—Chris Gibson, BroadwayWorld.com

“Murder and madness drive The Rep’s electrifying and eloquent interpretation of ‘Hamlet’ …Jim Poulos immerses himself in the language of the story, his body expressing every emotion and motivation with energetic, purposeful movement. Even when deep in thought or lost in madness, his actions are certain, his intentions clearly defined. Poulos easily handles the language and nuances of the script, and conveys much with a pointed gesture or lift of an eyebrow. His Hamlet is bristling in his quietest moments and his rages often contain witty observations and knowing glances. …a thoroughly engrossing dive into the language of Shakespeare with active, beautifully crafted scenes that are likely to have your heart racing.”

—Tina Farmer, KDHX

“Jim Poulos plays the title role triumphantly, swinging from laughter to frenzy at the drop of a hat, but there’s nothing contrived about it. …The story is about the fine line between deep grief and madness, and Poulos manages to show that delicate balance with a great deal of skill. …This is The Rep’s first take on Hamlet, and I think the Bard himself would smile on the production. It commands the full range of emotion he must have intended, from both the players and the viewers.”

—Julia M. Johnson, Town & Style

“I was hoping for a classic, yet freshly delivered production. If you are hoping for the same experience, then you are in luck, because that’s what you will get. …Jim Poulos, who is apparently no stranger to tackling Shakespeare at The Rep, will give you a Hamlet that is loveable, devilishly sarcastic, cunningly mad, and so tortured that you cannot help but thirst for revenge along with him. He is constantly “on”; a physical manifestation of grief and madness. He is Hamlet as it should be. His dry wit and asides to the audience bring much needed comic relief to this nearly 3 hours of wonderful emotional exhaustion.”

—Jacqueline McGarry, Limelight

“Jim Poulos is a most unusual Hamlet but one that works well and spreads less gloom and more madness than any interpretation we’ve ever seen. From doing bicycling type exercises to stalking and taunting and even mimicking those around him, he pulls it off with a great dose of angst and anger mixed in. Carrying on like that for the almost three hour production must be exhausting but what an incredible performance.”

—Steve Allen, Stage Door St. Louis

“Poulos brings us a particularly puckish portrayal of the Melancholy Dane. His Hamlet is thoughtful, but he’s also confrontational, witty, and full of dynamic energy, challenging baffling Claudius and crew with his actions and body language as much as, if not more than, his words. It’s a brilliantly visceral performance. …It could be easy to ask why it’s taken so long for the Rep to produce Hamlet, but it’s also easy to say now that I can’t imagine how they could have done it better. Particularly in its casting and fast-paced staging, this is a Hamlet that is confrontational and majoring on emotion, with a truly remarkable title performance at its heart. It’s a theatrical triumph for the Rep.”

— Michelle Kenyon, Snoops Theatre Thoughts

“Poulos’ physical acting is energetic, his delivery at times rapid-fire, the effect sometimes downright comedic, which doesn’t really feel incongruous. He’s young, he’s driven, he’s smart – no wonder he’s irresistible, even in the midst of all this.”

—Joe and Ann Pollack, St. Louis Eats and Drinks

“…depth of though and attention to detail are evident throughout this production…Hamlet’s behavior is bizarre at times, in Jim Poulos’ portrayal, but that’s what we should expect from someone who says he might put on an ‘antic disposition’. Is it clear when Hamlet is in control of himself and when he isn’t? Not always, and I like that. Jim Poulos’ diction, however, is always clear. … sitting three hours to people who know how to speak Shakespeare, speaking Shakespeare, is just a lovely way to spend an evening.

—Gerry Kowarsky and Bob Wilcox , Two on the Aisle

Mozart, Amadeus, Rep Theatre of St Louis, 2009

“Jim Poulos plays Mozart not as the foul-mouthed idiot savant of the film but as a likable lightweight in whose real-life existence it is no great strain to believe.”

—Terry Teachout, Wall Street Journal

‘Jim Poulos’ Amadeus is more nuanced than Mozart is usually portrayed. Of course he is energized, but Poulos also manifests an unspoken aura: His Amadeus somehow senses that he is the chosen one.”

—Dennis Brown, River Front Times

“What the play was truly better for–what it was outstanding for–was Poulos’ performance as Mozart. Brilliant, just brilliant. Expressive, fun, crass, desperate for his father’s approval, confident in his work, completely besotted by his wife, wistful for a more successful time as he loses all patronage (thanks to Salieri machinations), passionate about music as it is in his soul, weary and then accepting of Salieri’s friendship (and let’s not forget that wonderful infectious silly laugh–Poulos hit all the right notes (sorry for the pun–truly unintended but appropriate) as the complicated musical genius.”

—Bridget Klotz Kostello, the Stealth Critic

“Poulos’s descent from juvenile wildness to fevered madness charts a touching, plausible line.  Together, Long, Poulos and Stanley anchor director Paul Mason Barnes’ production, which also includes other sharp performances.”

—Judith Newmark, St. Louis Post-Dispatch

“Equally as remarkable are the interpretations by the show’s focal actors.  Jim Poulos brings an extra dimension to Mozart with his own expert musicianship at the keyboards.  He also excels at showcasing the composer’s baser side as well as his naivete concerning Salieri, and soberly conveys Mozart’s alarming physical and financial decline.”

—Mark Bretz, Laude News

“Top 10 of 2009, St. Louis: Amadeus received a superior presentation by The Rep under Paul Mason Barnes precise and thorough direction, with marvelous performances by Andrew Long as Salieri, Jim Poulos as Mozart and Joe Hickey as the affable if intellectually challenged Emperor.”

—Laude News

“Jim Poulos as Mozart is remarkable, especially in Act II when he is shown sliding down the emotional slope to ruin that Salieri has so clandestinely plotted for him.”

—Harry Hamm KMOX-AM

“Jim Poulos as the bratty and hateful Mozart is outstanding. He too must move from this giddy know-it-all to a man driven mad by poison- literally and figuratively. His final moments are moving and poignant.’

—Steve Allen, KFUO-FM

Geva Theatre Center, 2010

“Jim Poulos as Mozart is frolicsome and naughty but equally convincing later in the play when the composer has lost much of his spirit and lives alone in poverty with only his need to write to keep him alive. Mozart says, “My tongue is stupid. …My heart isn’t,” and Poulos is never more effective than during a moving speech in which Mozart explains a composer’s responsibility.”

—Michael Lasser, Rochester City Newspaper

“He says he is better than any other musician in Vienna … and we believe him.
Jim Poulos delivers an equally compelling performance as Mozart, the endearing idiot savant who is a giggling, “gibbering monkey” one minute, a dedicated artist the next. Although he gives the impression that life is one glorious party, we don’t doubt for a second his brilliance—especially during his rebuttal to the self-absorbed Emperor Joseph (Brad Heberlee) who complains Mozart’s opera has ‘too many notes'”

—Marcia Morphy, Democrat and Chronicle

Puck, A Midsummer Night’s Dream, Rep Theatre of St Louis, 2014

“Jim Poulos ties everything together as Robin Goodfellow, also known as Puck. The sprightly actor bounds around the stage and works wonders seeming to do everything but pull a rabbit out of his hat. It’s a remarkable performance that steals a show that’s full of scene-stealing moments from everyone.”

—Steve Allen, Stage Door St. Louis

“Jim Poulos is sensational as the beguiling Puck.”

—Lynn Venhaus, Bellville News-Democrat

“Jim Poulos makes Oberon’s servant Puck both intelligent and fierce in arranging all the mayhem, even when he gets things hopelessly mixed up…Great double-casting at all levels here…”

—Richard Green, Talkin’ Broadway, St. Louis

“Jim Poulos is terrifically mischievous as Puck.”

—Malcolm Gay, Riverfront Times

“…played expertly by Jim Poulos…”

—Emily Scharf, PlaybackStL.com

“…standouts include Poulos as the engagingly mischievous Puck.”

—Michelle Kenyon (SnoopMK), SnoopsTheatreThoughts.com

“Jim Poulos delivers a fine performance as the naughty Puck, aka Robin Goodfellow.”

—Chris Gibson, Broadwayworld.com

“Barnes and his polished cast expertly ‘weave together’ the story’s separate threads.”

—Judith Newmark, St. Louis Post-Dispatch

“A Midsummer’s Night’s Dream at The Rep is truly a transporting production. Done with great love, care, energy, humor and beauty, this very determined show quickly engages the audience on a level of colorful imagination and whimsy that is irresistible. The production is uniformly funny…In the last scene, the character of Puck implores the audience in his epilogue to not be put off by the play’s unbridled flights of fancy. “Gentles, do not reprehend: if you pardon, we will mend.” Not a problem, Puck.

—Harry Hamm, KMOX – CBS St. Louis

Mercutio, Romeo and Juliet, Great River Shakespeare Festival, 2015

“Both exuberance and inevitable destruction mark Jim Poulos’ dazzling performance as Mercutio. He is Romeo’s best friend, loyal to a fatal fault, but also a partier, jokester, and antagonist. Poulos totally captivates on stage, and it is in contrast to Mercutio’s testosterone-driven bravado that Romeo’s gentle and romantic persona is forged.”
“Doug Scholz-Carlson, Artistic Director of the Great River Shakespeare Festival, has directed this production—splendidly, ferociously—and, moreover, has added his considerable talent as a fight choreographer. …switchblades are the weapon of choice. The fight that ensues is thrillingly presented, both balletic and guttural.”

—Arthur Dorman, Talkin’ Broadway, Minneapolis

Jim/Tom, Clybourne Park, Geva Theatre Center, 2014

“Directed by Mark Cuddy, Clybourne Park is a savagely funny, immersive, intimate, visceral, profanity-laced, emotional and superbly acted production.”

—Marcia Morphy, Democrat & Chornicle

“Mark Cuddy directs the Geva cast with great verve and sensitivity to the rhythms of Norris’s language: those stuttering repetitions really mean something. All the cast members do a fine job at changing from their 1959 characters to their 2009 equivalents…”

—David Raymond, City Newspaper, Rochester

Jim/Tom, Clybourne Park, Cleveland Playhouse, 2014

“‘Clybourne Park’ will offend you, delight you and, in the Cleveland Play House production under the direction of Geva Theatre Center artistic director Mark Cuddy, break your heart. The ensemble is especially good. The group of eight actors, seven of them playing dual roles, achieves perfect emotional pitch with a script that requires them to pivot from comedy to gut-wrenching tragedy with hairpin precision.”

—Andrea Simakis, The Plain Dealer, Cleveland

“How can an issue charged with deeply serious emotions be presented with so much humor? That’s what you’ll see in “Clybourne Park”… The cast, direction and physical production are all superb.”

—Art Thomas, WestLife, Cleveland

“…this production is as tight as a drum and the acting by Remi Sandri, Roya Shanks, Kristen Adele, Jim Poulos, Jessica Kitchens, Christian Pedersen, Daniel Morgan Shelley and Bernard Bygott is superb.”

—Bob Abelman, Cleveland Jewish News

“Directed by Mark Cuddy, the extremely intelligent, perfect-pitch Play House cast members embrace the deep, profound drama lurking behind every deceptively benign verbal exchange.”

—Howard Gollop, Chronicle-Telegram, Cleveland

“The cast is excellent.…I was fortunate to see Clybourne Park on Broadway and find the Cleveland production equally strong.”

—David Ritchey, Talkin’ Broadway.com, Cleveland

“Clybourne Park is the entire theater package. …great comedic moments… high drama… This is a great cast that gives its all to the performance. See this show.”

—Mark Horning, examiner.com, Cleveland

Felix, The Odd Couple, John W. Engeman Theater, 2009

“Together, they’re a priceless pair. Mr. McGrath, spraying warm soda and scattering potato chips, does slovenly with extravagant flair. Mr. Poulos, with his hair slicked down (or “clenched,” as Oscar describes it), is a model of prim movements, except when Felix is trying to rid himself of his many ailments by wiggling his rear, kicking his legs or making the honking sounds that Oscar likens to moose calls. The actors get even funnier in the second act when they stumble through a double date with the Pigeon sisters, whose surname is designed for puns.”

—Aileen Jacobson, The New York Times

Charlie, The Foreigner, John W. Engeman Theater, 2009

“The actors at the Engeman seem to relish their roles, and their energy and enthusiasm help to buoy the play during its bleaker stretches. Among the production’s chief assets is Jim Poulos, who portrays the title character, a painfully shy Brit named Charlie Baker. Mr. Poulos demonstrates an unassuming grace that can transform a nebbish into an endearing hero.”

—Aileen Jacobson, The New York Times

“Jim Poulos, who created a sensation as Max in Engeman’s production of “Lend Me a Tenor,” once again struts his comic genius in his role as the likeable underdog, Charlie Baker. Even when bereft of words, Poulos’ face and body language speak volumes, and it’s both magical and hilarious.”

—Elise Pearlman, Times Beacon Record