Jeremy Morse



Waitress at American Repertory Theatre

A comic-romantic subplot with Dawn and an Internet date with Ogie (Jeremy Morse, in a firecracker of a performance) brightens the mood, with Morse having a pair of highly charged numbers: “Never Getting Rid of Me,” ... and the silly but joyous “I Love You Like a Table.”
— Frank Rizzo, Variety
Supporting Jenna in her bumpy journey are fellow waitresses Becky... and Dawn (Jeanna de Wall), the introverted geek who manages to find her life mate, Ogie (Jeremy Morse, a scene-stealer), through the internet.
— Alicia Blaisdell-Bannon, Cape Cod Times
Jeremy Morse is a ball of energy as Ogie, the dweeby weirdo with whom she (Dawn) finds love.
— Joel Brown, Boston Globe

Bloodsong Of Love at Ars Nova

The evening belongs to Morse, who brings to mind a Mexican Dr. Evil with a penchant for dancing on tables. A crackerjack comic actor, Morse doesn’t just steal the lady, he steals the show.
— The New Yorker
Every show has a standout, and in Bloodsong of Love it is Jeremy Morse as the evil villain...Morse’s delivery and energy are flawless, and the result is an audience full of people holding their sides and literally wiping away tears of laughter.
— Terra Vetter, Theatre Is Easy

How To Succeed at Walnut St/Riverside Theatres:

As our protagonist, the artfully innocent and deviously brilliant J. Pierrepont Finch, Jeremy Morse, must work NOT to steal the show. And that’s saying something. With a touch of plucky Donald O’Connor about him, Finch hits the floor and bounces back like a rubber ball. Small, unstoppable and built to last, Morse is made for comedy and his clear tenor baritone rings true...
— L. L. Angeli, Vero Beach Newsweekly
Every now and then when one goes to the theater to see a musical, there are moments when one can be transported out of the audience and into the action onstage. You and the actor and the music become one. Such was a moment in the Walnut Street Theatre’s flawless production of How to Succeed in Business Without Really Trying. When Jeremy Morse as J. Pierpont Finch was singing, Rosemary, I was no longer listening to an actor sing a well-known song or watching him perform intricate choreography. I was seeing a young man in love. Finch was in heaven and so was I – theater heaven.

Jeremy Morse, a total triple threat, possesses all of the youthful ebullience, charm and comedic timing needed to successfully embody the character of J. Pierpont Finch, the engine that makes the show hum.
— Aisle Say, Claudia Perry
Morse was bionic in his absolute commitment and physical stamina in this demanding role.  One cannot believe anyone could be livelier, more earnest, or more energetic than the incredible Jeremy Morse. His performance was star quality reminiscent of Broadway’s golden age.
— OutInJersey, Ralph Malachowski

Hello Dolly! at Goodspeed Opera House:

As Cornelius’ young foil and buddy, Barnaby, round-faced, sturdy Jeremy Morse couldn’t be more lovable and hilarious, with his somersaults out of nowhere and his “Holy cabooses!”
— Brooks Appelbaum, New Haven Magazine
There are not enough adjectives to describe in this space the infectiously delightful performance of Jeremy Morse as Barnaby. Impish and wide-eyed, he is a major contender to steal every scene in which he appears.
— Don Church and Tony Schillaci, The Examiner
Barnaby Tucker, played to perfection by Jeremy Morse, is hilarious both vocally and in executing his numerous pratfalls.
— Westport Patch, Karen Kovacs Dydzuhn

Camelot at John W. Engeman Theatre

In most productions of “Camelot,” the character of Mordred, the evil spawn of King Arthur and a sorceress who seduced him in his youth, is a footnote. Usually, he’s barely remembered by theatergoers and mentioned only briefly in reviews; in the movie version, he was stripped of his two big numbers. In the stage musical, he doesn’t even appear until the second act.

Rarely does he burst in to practically save the show — or at least inject much-needed vigor. Yet that is what Jeremy Morse does when, playing Mordred with all the venom of an angry, neglected young adult, he sows dissension among the Knights of the Round Table and drives a final wedge between Arthur and his wife, Guenevere.
— Aileen Jacobson, New York Times