Mamma Mia!
"...best among the smaller roles, Gil Brady as Sam, the architect who broke Donna's heart."
- Steve Barnes, Albany Times Union

"Many of the secondary leads and smaller roles are also cast brilliantly, particularly Gil Brady as Sam ...gives one of the best, and most believable performances in the entire production, something that can be difficult when the material is quite basic."
- Gianluca Russo, BroadwayWorld

"Brady, as Sam, the 'one that got away,' was a heartbreaker – strong and controlled, a man sure what he wanted and what he needed to do to get it."

- Amy Durant, The Alt


Outside Mullingar

"Gil Brady couldn't be better as the repressed Anthony who finally bursts self-created boundaries and displays real joy."
- TotalTheatre.com

"In the nuanced, tightly-wound and wonderfully awkward performances of Gil Brady and Claire Warden, we want them to make the right choice. They are so engaging, even in their obstinency, that on opening night you could feel the audience almost breathing as one as Rosemary and Anthony discussed the issues that have kept them apart."
- Sarasota Herald-Tribune


Inspired Lunacy

"Brady scores in a bit as a lounge singer..."
- Sarasota Magazine
"Gil Brady compares well to Danny Kaye...."
- TotalTheatre.com


Spamalot
"All the knights do great work. Bruce Warren as the cowardly Sir Robin, Danny Bernardy as Sir Lancelot, Gil Brady as Sir Galahad, Jake Mills as Sir Bedevere are hilarious actors and strong singers. Whether you know the film or not, the best moments of the musical come from the new songs, especially "The Song That Goes Like This," which parodies the trite and overblown theatrical ballads of Andrew Lloyd Webber"
- Marty Clear, Bradenton Herald


The Underpants

"Theo, played with priggish glee by Gil Brady"
- Susan Rife, Herald-Tribune

"The setup is this: Young housewife Louise (Jennifer Joan Thompson) has attended a parade featuring the king himself with her husband, the stuffy and smug bureaucrat Theo (played by Gil Brady, who makes Theo the man you love to hate but can’t help laughing at.)"
- Kay Kipling, Sarasota Magazine


Around the World in 80 Days
"I just loved Brady and Langstaff as Fogg and Passepartout. Talk about the proverbial British stiff upper lip, Brady didn’t have a flexible bone in his body. He was poker-faced and ram-rod straight whether riding an elephant through the jungles of India or shooting at Apache’s on the American Plains."
- Berkshire Onstage

"Gil Brady as Actor 5 plays Phileas Fogg and it is wonderful to watch him transform during his quick trip around the globe from a stodgy, indigent gentleman into a man of charm and grace and graciousness. His transitions are gradual and his ultimate change, thanks to another character, is as lovely as it is lively. The entire cast uses accents to perfection."
- Peter Bergman, Edge New York

"Gil Brady as the straight-arrow hero kept this part focused and won our sympathy. It is not easy to play a cockeyed optimist (and be British)."
- Keith Kibler, New York Arts

"Brady, who has become something of an Oldcastle favorite in recent seasons, offered us grace, dignity and proper Brit stiffness to Fogg’s almost excessive dose of honor and integrity."
- Telly Halkias, The Advocate


Northern Boulevard

"Brady is charming and delightful in every way."
- Peter Bergman


Jesus Christ Superstar
"The leads were out of this world... Brady's last stop on the CFRT stage was in the over-the-top comedy 'Boeing, Boeing.' I knew he could be funny. But in 'Superstar' he showed us new depths. Of course, the last scene is the stuff great theatre is made of, and Brady had the audience in the palm of his outstretched hands."
- Up and Coming Weekly

"The performances are superb...."
- Fayetteville Observer


Our Son's Wedding
"Gil Brady brings a precise edge to his portrayal of David..."
- Herald-Tribune (Sarasota)


I Love You, You're Perfect, Now Change

"Some highlights include Gil Brady, in his FST debut, as an addled, new father of a baby boy, who's completely besot and riddled with ooky-wooky baby talk in "The Baby Song." He's hilarious as an incarcerated felon who "scares straight" a woman brought to a prison by her therapist to get realistic about her expectations of a partner."
- Pelican Press

"Its current revival at FST, though, is thoroughly likeable, with a perfect cast of four. They fill the shiny panel-framed stage mostly with fun, sometimes with pathos, to just the right music from behind the darker back scrim."
- Aisle Say, Florida

"The cast, directed by Kate Alexander, is high-energy and adept at switching swiftly from one character or mood to another..."
- Sarasota Magazine 

"You’ll love it — and you won’t want to change a thing."
- Creative Loafing Sarasota


Boeing, Boeing
"Gil Brady, as the debonair, successful businessman Bernard, is quite the lady's man. He bears a resemblance to Pierce Brosnan, and his performance is every bit as polished."
- The Republican-American


The Crucible
"Brady was absolutely remarkable as the haunted Proctor. At first emboldened with a marvelously cocky swagger and an infectiously wry grin, he soon gave way to brooding melancholy and stubborn, tragic resolve. So captivating was Brady’s performance that – at times – it hardly felt like acting. It was almost as though the audience was fortunate enough to witness a secret event through a cleverly concealed curtain, gasping as life before it roared and consumed like a wild flame. This was especially challenging since this particular character is one of the most difficult to justly portray in theatre, and was visibly met with sensitivity, maturity and the height of professionalism in a performance arguably almost on par with Day-Lewis. His emblazoned speech that echoes the importance of his name was enough to send tenacious shivers down even the most skeptical of spines. Bravo, Mr. Brady."
- ReviewFix.com

"...lead by Brady, whose John Proctor is explosive and heartfelt"
- NY Post

"He skillfully evoked Proctor’s complex mix of righteous indignation and shame over his infidelity."
- The Brooklyn Paper


Rabbit Hole
"Gil Brady has an easy, natural warmth as supportive husband Howie, who's losing his wife as well. A crack has formed in his goodness, but he's still a good man."
- Terry Morris, Dayton Daily NewS

"Bay and Brady's compatibility is evident throughout and both contribute greatly to the quiet tension that looms over the piece...Brady smoothly handles Howie's varying shades, especially as an authoritarian."
- ussell Florence, Jr., Dayton City Paper


Three Days of Rain

"Walker is troubled youth and throughout the first half much is revealed about his difficult psychology; he is the son of a mother gone mad and a father who ignores him. As played by Gil Brady, he is the most compelling of all the people we meet in this play. He has charm, wit, a panoply of emotions that play out in his face, his voice, his body language. He is everything that his father, it turns out, is not and when he plays his Dad, he is a totally different person. Brady's work in these two roles is exceptional, rich and voluminous in all the darkness that both characters embody."
- Peter Bergman (Berkshires)

"TV and stage actor Brady, in his Oldcastle debut, arguably has the most difficult temporal shift to pull off, and does so handsomely. His ability to deftly swing from the cavalier to the apprehensive while still gripping hold of comparable flaws paints distinctive yet parallel portraits of Walker and Ned."
- Manchester Journal

"...highly talented young man, Gil Brady ...the cast holds the audience spellbound ...the acting is close to astounding."
- Bob Rose, The Post-Star 


North Carolina Shakespeare

"And then there's Gil Brady as the effeminate goldsmith who turns attitude and giggles into a science."
- Winston-Salem Journal


Split Ends

"...Kitty, the beautician who looks suspiciously like a man (Gil Brady, who practically steals the show)..."
- Kerri Smith (Theatrescene.net)


Grease
"As Danny Zuko, Sandy's Romeo, Gil Brady out-dances John Travolta and creates the show's most substantial character."
- Beth Jones (Roanoke)