Jason Budd: Reviews

"Another flash of quality was represented by Jason Budd in the character role of the Sacristan: He served as a reminder of what a difference it makes to have solid professionals even in smaller parts."

"Falstaff absolutely has to have a really strong central performance (we fondly remember Bryn Terfel at HGO a few years back); and despite the lack of an HGO-sized artist’s budget, Opera in the Heights served up a prime Falstaff in basso buffo Jason Budd.
Particularly in the intimacy of Lambert Hall, which seems to get nicer every time we go there, Budd’s comic acting made us care about Falstaff, not just about seeing him get his comeuppance. If his long, thick sideburns made him look a little like Fat Elvis, a bizarre association to be sure, his mugging also had an innocence that reminded of Charlie Chaplin or Harpo Marx. Harpo especially seemed a role model, considering his wide-eyed devotion to the chase as well. Budd’s voice blew out the back wall of the theater whenever he wanted it to, but also contained impressive softness, plus the lightness of occasional falsetto self-mockery. This was Budd’s OH debut, and we hope the company will find ways to bring him back."

"Especially impressive is baritone Jason Budd as a Falstaff prodigious in both voice and girth. Upbraiding his greasy cohorts Bardolfo and Pistola, wooing wise Alice, flirting with Dame Quickly, snatching money from Ford, upbraiding senile Dr. Caius or watching young love triumph with Nannetta and Fenton, Budd's Falstaff is as puffed-up, inadequate and worthy of laughter as any of us. Which is exactly what Shakespeare — and Verdi — intended."

"Jason Budd's Dulcamara was a good-natured quack, nimble of limb and voice; (he) sang with vocal heft that made the already-small Drury seem like a phone booth."

"But it was a former apprentice, Jason Budd, who excelled in the comic basso buffo role of Dr. Dulcamara who nearly rode off with the entire show tucked into his huge satchel. Adeptly using his large and agile voice in the patter songs that anticipated the Gilbert and Sullivan era, he also has the expressive face so necessary to the comic singer and even danced gracefully, when required."

"The opera's chief numbskull, Dr. Bartolo, allows Jason Budd to bluster in expert fashion ... he wraps his voice elegantly around phrases, he beautifully conveys the character's bounty of frustrations".

"Jason Budd, playing Schicchi -- the wily acquaintance who helps the schemers get their way, up to a point -- boasted a lusty voice that let him relish the humor of Giacomo Puccini's music. Burly and animated, he cut a spirited figure, too."

"Jason Budd's Sir Joseph had an imposing girth that befit his status as "the monarch of the sea," but he was light on his feet, too. From the time he first mentioned the importance of being able to dance, he rarely settled down. His face was full of life, too, whether his mouth was turning down to aim a supercilious smile at his social inferiors or his eyes were bulging in amazement when things didn't go his way. Budd sang with a gusto and wryness that exuded Sir Joseph's supreme self-satisfaction."

"Especially in the huckster Dulcamara's sales pitch from Elixir, Budd had personality galore. His voice was deep and hearty when he let it loose, but it also whispered sneakily in Dulcamara's little asides. And Budd was animated right to his flitting, caressing fingertips."

"If you are reading this put down the paper right now and go to the phone, because when word gets out about Jason Budd's masterful performance as Tevye this will be a hard ticket to get."

"Bass Jason Budd was excellent as the troublesome Sacristan."

"Budd did well by two small roles as the landlord Benoit and as Musetta's follower, Alcindoro."

"Jason Budd's portrayal of Lt. Zuniga was convincing and vocally secure."

Another flash of quality was represented by Jason Budd in the character role of the Sacristan: He served as a reminder of what a difference it makes to have solid professionals even in smaller parts.