Russell Sperberg

Russell Sperberg’s Jim O’Connor jolted the second act to life with his genuine enthusiasm and buoyancy.

Sperberg’s remarkably insightful, subtly crafted portrayal conveys a sense that Jim’s bravado and optimism are as much a barrier against his own fear of failure — a weapon against becoming discouraged — as it is conviction…Breathtaking ... literally and figuratively.

Sperberg’s tender Jim O’Connor finally brings genuiune beauty into the play … Rothkopf and Sperberg seem to be an ideal pairing, and I would love to see them in another play sometime where their natural, unique magnetism could be displayed differently. I don’t know how they were cast, but Patterson is to be congratulated for bringing them together.

With exquisite rhythms and pacing to the scene, the pair sit on the floor by candlelight as Jim, with gentle if misplaced self-confidence, tries to buoy Laura … Sperberg, aptly cast for his lanky height and intuitive grasp of the character, shapes Jim’s earnest if clumsy intentions.

Russell Sperberg shine(s) in this scene…Sperberg gives the American businessman’s can-do spirit of unfounded cockeyed optimism the perfect pitch; he comes across as an appealing prince even when he crosses the line.

This scene is beautifully played lit only by a candelabra and a minimal number of spotlights to faintly illuminate the background.  It is a lovely piece of work by Rothkopf and Sperberg.

Sperberg somehow shows the Gentleman Caller to be equally as tragic as the others…It’s this type of work that adds rich shading to familiar characters. 

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By April Tooke, Onstage Colorado

“[Sperberg] presents some comic moments humming in his yoga pants while sitting in lotus pose…As a study in character, realized with minimal dialogue, it’s an intriguing bit of theatre.”

By Keith Waits, Arts Louisville

“Under the banner of imagination we find The Wilting, by Gabe Cora, which uses whimsy to wring surface laughs from an amusing futuristic scenario that ends on much darker, apocalyptic notes…Purple, by Katelyn Spencer, follows the silent interplay between two painfully shy adults at a bus stop (Reagan Stovenour & Russell Sperberg) and the anxious build up to find the courage to speak expressed through their individual Consciences (Kevin O’Connell & Laura Lee Caudill).”

By Jeanne Powell, Stark Insider

“Gloria Steinem has said ‘this movie should be seen by every American.’ If you have an opinion on this subject, and nearly everyone has, this film should be required viewing.”

By Eli Keel, Insider Louisville

“ ‘We’ve Come to Believe’ asks the audience to trust it, to follow along and engage with a non-traditional way of telling stories. I’m willing to drink the Kool-Aid, and I’d love to see next year’s PTC group take this story structure for a second voyage, with a new set of themes and archetypes.”

By Keith Waits, Broadwayworld

“The opening show is usually a more accessible, crowd-pleasing comedy. We've Come to Believe fits that description, especially in the high-energy, vividly funny performance of the Professional Training Company…Ultimately, the show reminds us that people so desperate to make sense of their lives might accept the most shallow answers because the alternative is too difficult. Charlatans and snake oil salesmen might be satisfying precisely because they are also easy to cast off without too much trauma.”

By Minda Honey, 89.3 WPFL

“What I’ve come to believe is that the best way to enjoy this play is like a Magic Eye puzzle: just relax your focus and wait for what the swirls of comedy, choreography and cultural commentary have to reveal.”

By Keith Waits, Arts Louisville

“The comedy in Coffee Break was not as black as the coffee, but the absurdity was rich…Russell Sperberg and Julian Socha perform sharply drawn spoofs of Bohemian poetry…The contrast of willful romantic delusion and pretentious intellectualism is delightful.”

By Alex Roma, Louisville LEO Weekly

“Throughout its season, this year’s training company has shown that its not ones to pull punches. In Russell Sperberg’s ‘Minutes_12.2.08.doc,’ a deadly environmental disaster looms, and Sperberg’s character desperately tries to warn his peers, while those in power have their own reasons to keep him quiet. His desperate cry for the PTA of his son’s school to “vote” on the issue rings clear just a few days before midterm elections.”

By Gwen Orel, Montclair Local

“Sperberg’s immature Silvio, matched by Rizzolo’s weepy Clarice, evoke sympathy as well as laughs.”

By Patrick Maley, NJ.com

“It's a tricky maneuver to inject even more warm holiday spirit into an unimpeachable Christmas classic, but Joe Landry pulls it off with this show, and at the Shakespeare Theatre of New Jersey, Doug West and company give the play a vibrant, wholly satisfying rendering…West's excellent cast does great work to bring this story alive without the help of scenery, costume, or props.”

By Victoria Weisfeld, The Front Row Center

“Other delightful touches include…the live piano playing of cast members, especially Russell Sperberg, who plays hero George Bailey’s younger brother and wrote original music for the production.”

By Marina Kennedy, Broadwayworld

“The Shakespeare Theatre of New Jersey has assembled the ideal company for this theatrical delight. They master the storytelling and capture the humor that occurs when the radio performers quickly transition to portray multiple roles.”

By Ruth Ross, NJ Arts Maven

“And Russell Sperberg is the perfect naïf to play George’s brother Harry and Sam Wainright (“yee haw”), George’s rival for Mary’s hand. He does triple duty playing the piano too.”

By Billy McEntee, greenpointers.com

“And the role that exercises female suppression is the Man in White, played by Russell Sperberg in an icy cameo that portrays warden and doctor, preacher and beast. (Sperberg also provides the titular sound design, along with some delectable riffs on it.) The Man briefly appears when the women become rowdy, and his presence (menacing as it is) is soon missed.“

Broadwayworld News Desk

“Three-time Tony Award nominee Arthur Kopit (Nine, Indians, Wings) made several contributions to this new production of his 1962 play after being approached by director Emily Moler. Of this new production Kopit said, ‘This is the kind of process that shows you that a play is a living document. It's never done. There's always room for it to grow.’ “

Broadwayworld News Desk

“Particularly relevant this fall as the nation elects its next president, Orphans & Outsiders seeks to understand where our prejudices come from and how they impact the way we interact with the world.”

Broadwayworld News Desk

“Particularly relevant this fall as the nation elects its next president, Orphans & Outsiders seeks to understand where our prejudices come from and how they impact the way we interact with the world.”

By Rachel Kerry, New York Theatre Review

“A trio of performers discuss exoticism and Louis The 16th while casually remarking how much better it is to be contemporary urbanites than French courtiers. It would be hard to play along if the actors were not so compelling. Erin Mee's directing is crisp and buoyant. She inspires her actors to be fearless in the face of metatheatricality, to have fun playing with the audience at her party.”

By Nelson Diaz/Marcano, manhattanwithatwist.com

“Finishing the cast of characters are the often-hilarious couple of Lee and Daisy, played by Russell Sperberg and Alexis Robbins. These two characters serve as the comedic backbone of this 90’s drama.”

Tyler, stagebuddy.com

“As this play relies heavily on the abilities of its cast to bring these characters to life in a relatable and likable fashion, director Katharine Sommer succeeds in finding just the right actors for the roles.”