Paul Featherstone

“Paul Featherstone made an excellent impression in his Act IV solo ‘Ah, la paterna mano’.”
EDINBURGH EVENING NEWS (Macbeth)

“Paul Featherstone was a superbly kvetching Abraham, his tirades against “the scandals in the capitalist press” in complete contrast to his rather louche Steve Sankey.”
SEEN AND HEARD MUSIC THEATRE REVIEW (Street Scene)

“…director John Fulljames emphasises sharply delineated characters: particularly Kovalyov’s hunched, tramp-like servant Ivan, brilliantly played and sung by Paul Featherstone”
THE STAGE (The Nose)

“…the very wonderful Paul Featherstone as Ivan, who has an inimitable way with the extended response of “Yeeeeeesssssss“ to his master`s summons”
MV.DAILY.COM (The Nose)

“There are memorable turns also from Paul Featherstone as his servant Ivan…”
musicOMH.com (The Nose)

“La Boheme was an excellent production. I have been watching this opera for 45 years and this was as good as it gets. How well Paula Sides and Paul Featherstone as Mimi and Rodolfo have grown into these roles”
THE INDEPENDENT (La Boheme)

“I thought Paul Featherstone was outstanding in the title role…beautifully sung and portrayed.”
THE EVENING TELEGRAPH (Ernani)

“Michele was the tenor Paul Featherstone. His voice had plenty of edge and range…he was a very convincing presence, a violent, murderous, passionate figure.”
OPERA (The Saint of Bleecker Street)

“Paul Featherstone as Hoffmann and Gibson’s Nicklausse were the admirable mainstays of this production”
OPERA (Tales of Hoffmann)

“Paramount to any opera is the necessity to have a strong tenor. Paul Featherstone fitted the bill perfectly, and gave an outstanding performance. There was enviable ease to both his acting and singing and his portrayal of Gustavus could not be faulted.”
THE EVENING TELEGRAPH (A Masked Ball)

“Paul Featherstone was a convincing Gustavo with a pleasing tenor voice. His long duet with Amelia was one of many highlights.”
CORNISH GUARDIAN (A Masked Ball)

“Eric the mild-mannered accountant (the excellent Paul Featherstone) transforms himself…into a baby-catching superhero…acting with muscle-clenching physicality while singing Coker s jerkily rhythmic score.”
THE TIMES (Walking Not Driving)

“Martin the nihilistic street sweeper from hell played brilliantly by Paul Featherstone.”
VIRTUAL BRIGHTON MAGAZINE (Candide)

“Paul Featherstone couldn`t fail to catch my eye as he made his entrance as the Grand Inquisitor on stilts.”
INDIELONDON (Candide)

“Paul Featherstone: Thrilling” (as the Governor)
DAILY MAIL (Candide)

“Paul Featherstone excellent as the devious flirt Eisenstein”
THE COURIER (Die Fledermaus)

“Featherstone in particular gives a delightfully suave and elegant performance as the befuddled hero, while showing plenty of ringing tenor tone when needed”
EVENING TELEGRAPH (Die Fledermaus)

“His rendition of the famous “Nessun dorma“ aria was out of the top drawer.”
EDINBURGH EVENING NEWS (Turandot)

Some older reviews from my acting days:

“…brilliantly complemented by the humorous Paul Featherstone as Algernon Moncrieff”
THE COURIER (The Importance Of Being Earnest)

“There`s a good deal to enjoy in Paul Featherstone’s assured, high-spirited Algie.”
THE GUARDIAN (The Importance Of Being Earnest)

“…adroitly portrayed by Paul Featherstone as Algernon.”
THE SCOTSMAN (The Importance Of Being Earnest)

“Paul Featherstone romps away as a bubbling, youthful, eccentric Tzara.”
THE SCOTSMAN (Travesties)

“Featherstone(Tzara) enters into the cut and thrust of Stoppard`s arguments about the artist`s function and responsibility with a fluency and conviction that admirably serve the play`s clever humour and intellectual depths alike.”
GLASGOW HERALD (Travesties)

“The most sympathetic and least ridiculous Christie characters come off best: Paul Featherstone as the young radical Englishman, Smith and Susan Raasay as the gel he falls for, managed to pick a way through the crass melodramatics of the script towards an engaging, nicely pitched romance.”
THE GUARDIAN (Murder On The Nile)

“Paul Featherstone cuts a jolly dash as the noble, irreverent Socialist.”
THE SCOTSMAN (Murder On The Nile)

“The acting is uniformly clear and confident, Billy Boyd and Paul Featherstone particularly so.”
THE STAGE (Sleeping Beauty)

“There’s delicious supporting performances…watch for the hilarious breakfast table interlude with Paul Featherstone trying to gobble up every scrap of food in sight.” THE EDINBURGH POST (Hay Fever)