Staff / Artists & Critical Acclaim
Collin Carmouze
Our Work in Their Words…

“Standouts in the vast cast... Arnaldo Carmouze in back-to-back impressive turns as Sigmund Freud, Caiaphas the Elder and St. Thomas.”
Christine Dolen, Miami Herald - The Last Days of Judas Iscariot

"Arnaldo Carmouze - is A class... absorbing and classy... a vigorous character study”
Ron Levitt, Florida Media News Theatre Critic - On An Average Day

“Arnaldo Carmouze doubles as both ingenious director and actor and, despite the old adage, fills both roles very well indeed. His Michal, the slow brother of Katurian, is wonderfully knowing."
Roger Martin, - The Pillowman

“The most impressive performance, on stage and behind the scenes, is from Carmouze, who also directs. As Michal... his performance is both funny and heartbreaking. His direction wrings both the horror and humor from McDonagh’s play."
Mary Damiano, - The Pillowman

“With varying accents and an actor’s transformative abilities, Carmouze portrays Reeves’ commanding officer, military and civilian lawyers, and a pastor so atypical that he seems a surreal embodiment of the prisoner’s nightmare world.”
Christine Dolen, Miami Herald - 9 Cirlces

“Artistic Director Collin Carmouze masterfully guides Beverly Blanchette and Robert Johnston in bravura performances that eclipse anything we have seen them do before.”
Bill Hirschman, Florida Theater On Stage Review Of “Vincent River”

“...what makes this production transcendent is the similarly courageous emotional commitment of the Johnston-Blanchette-Carmouze trio.”
Bill Hirschman, Florida Theater On Stage Review Of “Vincent River”

“Carmouze, also an actor with the company, stages the play with care and skill. The pacing is generally slow, just as you would expect when two people are feeling their way around in a minefield on a starless midnight. The actors are allowed to breathe and find the characters’ thoughts rather than just emote the next line in the script. He moves the actors around enough to keep this very talky play from feeling static. With just a flat stage to work with, he still varies who is the prominent speaker by having someone sit on the floor while another is standing or having someone fade to the background. But his real accomplishment is what he has wrenched out of these actors working at the top of their game.”
Bill Hirschman, Florida Theater On Stage Review Of “Vincent River”

“Director Collin Carmouze has drawn a performance from Blanchette that takes Anita from a manipulative flippancy to angry devastation. And Johnston’s performance, particularly as he recounts the worst night of Davey’s life, is utterly riveting.”
Christine Dolen, Miami Herald Review Of “Vincent River”

“He stages The Good Father in a three-quarter round, and there is no scenic design per se. Rather, the elements of a set—tables, chairs, benches, clothing racks—sit dormant behind the actors, covered and upturned, until Carmouze and McGregor remove and place them between scenes. After a furnishing is used, its discarded backstage, so that the space becomes gradually (and symbolically) barren.”

"The decision is budget-conscious but also artistic, as evidenced by a masterly decision, in the high point of Act Two, to wordlessly convey a tragic turn of events by transforming one object into another.”
John Thomason, Florida Theater On Stage Review Of “The Good Father”