New York Based Actor, Singer
Nate Lewellyn… carries the complex core of the tale, the battle between dreams and reality, as well as demonstrating a vocal range that can hit and hold the high notes Mahler uses for songs about the stars. He’s vulnerable enough to crave his stern father’s approval, but ultimately strong enough to break free of his hold. Above all, he has a generous, upbeat, unpretentious presence.
Winning performance from Nate Lewellyn… whose lovely upper register complements his unaffected charm.
Lewellyn… sings splendidly.
Nate Lewellyn shines in his building of this character.
Homer Hickam… played with heart-wrenching realism and vulnerability by the clarion-voiced Nate Lewellyn.
Lewellyn’s voice isn’t just drop-dead gorgeous. It’s also achingly tender, reflecting the same openness and vulnerability he exudes as an actor. Watching Lewellyn convey Homer’s efforts to achieve two seemingly irreconcilable dreams – escaping a life in the mine while making his mining Dad proud – is key to and what’s best in this show.
Nate Lewellyn’s everyman-boy is beautifully nuanced, his burnished tenor setting a standard for rock-ish vocal stylings rendered safely through solid technique.
The utter humanity of these actors and this warm and fuzzy story make the [spectacle] just a backup to a great story.
Nate Lewellyn was extremely grounded: the exact inversion of his father, and yet the chemistry between him and [Jonathan Gillard] Daly made them extremely convincing as father and son. The entire cast sang the score superbly; I particularly enjoyed Niffer Clarke and Lewellyn’s voices which I found superlative... Ultimately, every moment was delightful.
[Missy] Aguilar and Lewellyn bring the cuteness with Maltby & Shire’s “What Could Be Better?” from “Baby”… [and] Lewellyn gives a stunningly sung and acted “Stranger” from “Big Fish.”
Nate Lewellyn’s voice had a soothing appeal—whether it’s a more comic or yearning tune.
The score by Stephen Schwartz is an Olympian showcase for the powerhouse voices distributed throughout the Marriott ensemble. Everyone on stage has at least one blistering number. The glory of their performances resides not just in their vocal technique (lots of singers can sing loudly and well), but in the passion and fervor they bring to their songs. These young people really sell Schwartz’s score with a commitment and an enthusiasm that is totally infectious. The performers belt out their pieces like true believers, and that makes for potent emotional contact with the viewer... - [Lewellyn] drew well deserved cheers… for “Light of the World.”
Nate Lewellyn’s “Light of the World” (Act I’s closing number) is nothing short of excellent.
The Marriott production, expertly directed and choreographed by Matt Raftery, and featuring a topnotch cast, is earnest, heartfelt and playfully celebratory… Each member of the tightly knit ensemble — who struggle with their consciences, desires and guilt — also grab your attention… [bringing] their clarion voices and fresh, zestful personalities to everything they do as they clamber over carpentry tables and morph from saints and sinners, to sheep and goats, seductresses and peasants.
The good news about the Marriott Theatre in Lincolnshire is that Matt Raftery’s production is exceptionally well sung… [The ensemble are] all charming and little they do seems forced or artificial, even as we know it was invented in the rehearsal room.
The cast of ten members is high spirited and highly talented, bringing comedy, drama, music and dance to the two hours of entertainment that is “Godspell”… Voices that ring loud and clear, acting that worked from start to finish and solid work on the dance routines.
But this show is about the music and the tight harmonies. [The cast] blend like they’ve been doing this for years rather than just a few weeks. They’ve got the look, the sound and the Temptation Walk steps down perfectly. Their voices, under the music direction of Dan Kazemi… do more than justice to this music.
…And Frankie (Nate Lewellyn), whose beautiful first tenor and great stage presence go a long way toward explaining why he is the Plaids’ leader. True to their musical heritage, this foursome sounds best when they sound together, closely harmonizing their way.
Death has never sounded so good. No really… The saving grace of Death Takes a Holiday is its incredible cast... Nate Lewellyn as Death and Prince Sirki is a fetching actor and thrilling singer especially in his angst-riddled Act 2 number “I Thought That I Could Live”.
Nate Lewellyn and Laura McClain are an engaging pair of young lovers
Lewellyn… ascends the mountain of incredibly strenuous music with ease.
Nate Lewellyn charms as a sort of magical-newsie narrator
We have a narrator/storyteller, one Willy Porter, the newsboy (deftly handled by Nate Lewellyn, who is fun to watch as he leaps from place to place, creating magical moments as he tells us the tale).
The strongest vocal effort – and most engaging personification — comes from Nate Lewellyn as the narrator-chorus-town crier Willy.
Lewellyn… is a charming young actor.
Nate Lewellyn, in the… role of newsboy narrator Willy Porter, has a delectably soaring voice that shakes the room late in the play.