Select a production to read Simon's press notices:

History Boys

Vincent in Brixton

A Christmas Carol

What the Butler Saw

The Ghost's Bargain


The Mousetrap

Importance of Being Earnest

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History Boys Simon Kendall Floyd King
The History Boys
Studio Theatre
directed by Joy Zinoman
March 29 - June 2, 2008

Washington Times:
"[Floyd King] is thrilling in the classroom...but Mr. Kendall is equally potent as Irwin, both reactive and insidious."

"a fluid, stirring production that emphasizes the social and political aspects of the play"

"[Kendall] is a one-man Kaplan review, and his educational spin-doctoring clashes with the swoony, romantic teaching approach taken by the older Hector (Floyd King)."

Washington Post:
"Kendall's Irwin...feels just right; the actor makes us believe in this man as a pale imitation of all that's deemed admirable in the world of scholarship."

"Joy Zinoman's production proves on the whole to be a worthwhile successor to the many-splendored, Tony-winning original."

"Kendall's cockiness in the classroom is juxtaposed with his flustered caution in his personal interactions and the two actors exude at turns envy, disdain and appreciation for each other."

"The fine actors Studio Theater has assembled never fall pity to any overeager student or inspirational teacher cliches, all embodying fully-fleshed characters."

Metro Weekly:
"Playing the parts of the competing teachers, both King and Kendall do wonderful jobs...[Kendall] turns Irwin into a complex and equally engaging character. The ying to Hector's yang, the two play brilliantly off each other, even when not sharing the stage."

"For 'History Boys,' Studio assembles a cast that holds tight and carries the play forward with no signs of weakness."

Washington City Paper:
"Kendall deftly undercuts his character’s arrogance with just enough insecurity to earn and keep our sympathies, even when we glimpse him, years later, in his role as the smarmy host of TV documentaries."

"it would be flatly, even egregiously unfair to compare Studio’s production to [the Broadway production]. But let’s do it anyway, if only to note with surprise and no small amount of delight how damn good the Studio cast is already. Joy Zinoman’s staging is smart, funny, and touching; in several scenes, it’s all three at once."

Vincent in Brixon
by Nicholas Wright
The Cleveland Play House
directed by Seth Gordon
February-March, 2004

**Simon was awarded a Time Theatre Tribute for his performance as Vincent Van Gogh.**

Cleveland Plain Dealer:

"...sparks of true passion [make] "Vincent" a gripping two hour experience. This is especially true whenever the dark, moody [Beth Dixon] shares the intimate stage with Simon Kendall..."

"Their breathtaking chemistry transforms each of their characters..."

"This 'Vincent in Brixton' belongs, ultimately, to Kendall, who proved his mettle when he took over a role in "Proof" at the Play House last season, and to Dixon. When Kendall's electric eyes and later his fumbling hands explore Dixon's bent and then suddenly alive body, you feel more than see the shift in her countenance. The two come together as a living embodiment of the play's repeated tagline, also taken from a letter by van Gogh: "No woman is old so long as she loves and is loved." And no play is superficial so long as it is this neatly directed and performed."

Cleveland Scene:
"In the pivotal role of Vincent, Simon Kendall is charming, boyish and appealingly impudent -- a restless colt truly unable to suppress his momentary longings. Kendall also registers the subtext of van Gogh's not-so-latent mental agitation, which is destined to overwhelm his life and his life's work."

"...a brash, abrupt, and cringingly naive Vincent... Viewing van Gogh as an almost goofy, frequently giddy post-adolescent is a revelation that, for all its unexpectedness, still feels absolutely right: Yes, this is truly how he must have been at that age!"

Cleveland Jewish News:
..."a sharp characterization of the awkward, brash, and utterly sincere Vincent."

"This moving production is a tribute to these fine actors.."

The Times Newspapers:
"Simon Kendall is perfect as Vincent. His frail body and delicate face give a vivid picture of the troubled van Gogh as a youth. His acting nuances foretell the torture that the man will experience."
A Christmas Carol
by Charles Dickens, adapted by Tommy Thompson
McCarter Theatre
directed by Michael Unger
December 2005 & December 2006

New Jersey Star-Ledger
"Best of the newcomers is Simon Kendall as the Young Scrooge, whose face shows a real dilemma when he must choose between love and career."

"[Kendall] excels in being officiously ambitious."

"A Christmas Carol" may be celebrating its silver anniversary at the McCarter Theatre Center, but this year's result is pure gold."
the interrogation
What the Butler Saw
by Joe Orton
Two River Theatre
directed by Brendon Fox
May 2006

New Jersey Star Ledger:
"Kendall has the cockiness that only the oh-so-young and oh-so-cute can have."

Ashbury Park Press:
"An experienced hand with the intricacies of Shakespearean comedies, Fox gets the most out of this capable cast — who cavort [and] play to the audience where necessary and establish just the right tone among themselves...a first-rate door slammer."

Princeton Packet:
"Under Brendon Fox's spirited direction, a veteran cast romps through the material..[Kendall] plays the hotel bellhop with carnal knowledge and a few bits of clothing."

Two River Times:
"As the nubile young woman and the libidinous bellhop, Amanda Rowan and Simon Kendall manage to stay on top of the mayhem refreshingly."
The Ghost's Bargain
A world premiere adapted from Charles Dickens by Laura Eason
Two River Theatre
directed by Melissa Kievman
December 1-30, 2007

New York Times
"An excellent cast of five professional actors, shifting roles in a tour de force of quick changes..The result is 70 minutes of charming acting and deft direction."

"As an alternative to the annual [Christmas Carol], 'The Ghost’s Bargain' is a welcome departure."

New Jersey Star-Ledger
" Simon Kendall as Edmund."

"This Dickens story may not be as popular as "A Christmas Carol," but it emerges as more profound work.

"It's all expertly staged by Melissa Kievman as a busy phantasmagoria."

Two River Times
"Singling out any cast member would be a disservice to the ensemble [who] are all first rate."

"The Ghost's Bargain is a welcome addition to the holiday theatre scene."

Talkin' Broadway
"Simon Kendall is earnest and likeable as Edmund Denham."
by David Auburn
The Cleveland Play House
directed by Seth Gordon
February 2003

Cleveland Plain Dealer:
"...Kendall radiate[s] authenticity..."

"This is the real thing, folks. The proof is in the play."
The Mousetrap
by Agatha Christie
Fulton Opera House
directed by Michael Mitchell
January 25 - February 11, 2007

Sunday News
"This snug, thoroughly engaging production of Christie's signature play invites laughter as easily as it builds tension, and the show's strengths is in its stars, or rather, "suspects"...Simon Kendall and Tonya Beckman lead the list of potential felons."

Lancaster New Era
"The cast of eight does a hale and hearty job."

"The entire cast is spot on...[the production] is a lot of fun...infused with both humor and moments of intensity. It's a good way to spend a cozy winter's night at the theatre."
The Importance of Being Earnest
by Oscar Wilde
The Porthouse Theatre
directed by John Woodson
June-July 2003

The Cleveland Plain Dealer:

"Simon Kendall give[s] Jack a consistent air of pinched repression that, combined with Kendall's pale, boyish looks, turns Jack into a sort of late-Victorian young Republican. This reinvents the character in the best way. The repression itself is funny, with [Kendall] practically vibrating in agitated pique, but it also gives him a solid, consistent personality from which to make amusing deviations: melting helplessly into sensual ardor, fuddling about in confusion and alertly, maliciously jousting with Lady Bracknell".

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by Sharyn Rothstein
InterArt Annex
July 2006
"...cleanly directed by Catherine Ward and wittily acted by Julie Leedes and Simon Kendall."
The Tank
co-produced by Slant Theatre Project & Simon Kendall
October-November 2005


Couchworks was conceived by Slant Theatre Project as an evening of new plays centered around a common set piece -- a couch. Noted playwrights including Adam Rapp, Theresa Rebeck, Marcus Gardley, and Mat Smart were invited to write original short plays for the evening.

The New York Times called Couchworks a
“lively platform for promising stars” and named it a "Critic's Pick" for off-off-broadway theatre.

Times theatre critic Jason Zinoman wrote that Couchworks was a
"lively collection of playlets that has the feel of a party thrown by the cool kids of downtown theatre…An evening of clever larks and capable acting."