"He is hard to keep your eyes off of - he has that "it" factor actors dream of."

Broadway World

"[One of] Washington area's most noteworthy musical actors."
Washington Times

BEYOND THE LIGHTS at Smithsonian Institution

Reeder is very comfortable with public speaking, and exudes confidence, poise, preparation, and passion.

Aaron Reeder is an incredibly versatile artist, easily moving between a musical theatre vocal technique, and then showing strong operatic technique in pieces

One of the most exciting parts of the performance was the sense of communication between Reeder and his audience.

Reeder’s voice is warm and expressive, with an even tone, wonderful diction and range. It was nice to see such a talented performer who is at the same time humorous, friendly, and intelligent.

(For complete review: Beyond the Lights at the Smithsonian)

 


PASSING STRANGE
Aaron Reeder received good notices for strutting Studio’s stage in the supporting part of a pissed-off transsexual in 2ndStage’s “Jerry Springer: The Opera” (also staged by Baker). As Youth, Reeder takes center stage with a faultless, strong yet endearing performance, and his songs are the show’s most beautifully delivered
His performance in ‘Passing Strange’ marks a true milestone in Aaron Reeder’s young career. 
Washington Blade


Aaron Reeder takes on the Youth role, imbuing it with the moodiness of adolescence coupled with an unquenchable innocence and openness.
DC Theatre Scene

Director Keith Alan has gratifyingly moved up the ranks one of the standout ensemble membersJerry Springer: The Opera, Reeder, who here plays to sterling effect the central role. Stew is no rose-petal memoirist; he looks back with a healthy appreciation of hypocrisy. In the scathing second-act number, "The Black One," Reeder expertly details Stew's cynical survey of images of black men in the popular imagination. 
The Washington Post

LES MISERABLES 

Aaron Reeder’s rich, warm voice perfectly captures the compassion of the Bishop of Digne.
D.C. Theatre Scene

Some of the solo roles are standouts as well, in particular  Aaron Reeder’s masterful turn in the small role of a compassionate bishop.

Washington Times 

The first transporting moment... brief but lovely moment for Aaron Reeder as the Bishop of Digne.

Potomac Stages

* Winner The Canadian Embassy Award for Outstanding Ensemble, Resident Musical (Helen Hayes Awards, 2009)

 


JERRY SPRINGER: THE OPERA

“Outrageous, audacious, sacrilegious and delicious. . . memorable performances are turned in by Aaron Reeder, a stitch as an angry transsexual.”

Variety


Many of the actors harvest bales of laughter, but a special place in the parody pantheon must be reserved for Aaron Reeder, playing an embittered transsexual whose withering worldview is summed up in his number, "Talk to the Hand."
The Washington Post

Tremont, the visually convincing and vocally high-flying Aaron Reeder… in your face, visually active, and ultimately exhausting, but never dull.
ionarts.com

Standouts include the graceful Aaron Reeder as a transvestite dripping with attitude. To keep up that level of sordidness takes artistry…
The Washington Times

...some of DC’s finest talents. The enormous cast is uniformly terrific, but a few of the roles grab one’s attention like a multi-car pile-up on the side of the freeway. Aaron Reeder plays transsexual home wrecker, Tremont, who is not going to take any disrespect from the audience. 
DC Theatre Scene

The production boasts some strong performers, most playing dual roles. Notable [is] Aaron Reeder as the transgender Springer guest, Tremont.
MetroWeekly

* The Canadian Embassy Award for Outstanding Ensemble, Resident Musical (Helen Hayes Awards, 2009 Nomination)

 

AIDA 
American Music Stage has mounted a spirited production of "Aida," the Disneyfied Elton John version of Verdi's tragic opera. 

...electrifying individual performances and strong ensemble work by director Hans Bachman.

 

Aaron Reeder is masterful as high minister Zoser, father of Radames. Zoser plots against Pharaoh (Jamin Olney), slowly poisoning him.... Tall and thin, Reeder fills the theater with an almost spectral sense of cold evil and reptilian cunning. His voice soars in the too-few songs he sings, as he manages the task of creating beauty without warmth. 
The Washington Post


 

DREAMGIRLS
...the ensemble is terrific.But the real find here is the marvelous roster of leading performers, each of whom brings the full package to the stage - they act, dance and most importantly sing the hell out of the score.

Of the male leads, however, Aaron Reeder as C.C. White plumbs the depths of a role that requires him to sing like gangbusters (he does!), fade into the background, and come out strong as the play nears its conclusion. He is hard to keep your eyes off of - he has that "it" factor actors dream of.
http://www.broadwayworld.com
 

Among the other notable performances are those of Aaron Reeder, who sings and dances with expressive fluidity as Effie's songwriter brother

...knockout delivery of the intricate, second-act "Quintet," a number that exemplifies Winters Lane's mastery of the complex interaction among the characters as well as the score's musical challenges.
Baltimore Sun

* Best Supporting Actor Aaron Reeder as C. C. White (Broadwayworld.com 2006-2007 Award)
* Best Ensemble (Baltimore Outloud)


 

ONCE ON THIS ISLAND 
The gods, representing Earth, Water, Love and Death are played by a quartet of commanding actors who truly embody what they represent.

Out of nowhere, the God of Death appears at her shoulder ready to answer her prayer. In those brief moments, the audience is transported through several emotions, ending with a chilling cold, fearful moment.


In an abrupt departure from his role in Dreamgirls, Aaron Reeder shows that he is an actor to be reckoned with as Papa Ge, God of Death. He is a powerful, yet subtle, commanding presence earning respect and fear as any god of death might. His part in "Forever Yours" will send chills up your spine!
http://www.broadwayworld.com


 

AIN'T MISBEHAVIN
The first act ensemble work is marvelous, leading to the second act’s show-stopping solos by Aaron Reeder who moves with the grace of a snake in "The Viper's Drag."
The Catskill Chronicle

 

The Playhouse stage is transformed into a 1930's Harlem nightclub where six talented performers and a flawless band bring to life a musical legend's work. 
We’re then treated to a fantastic array of real hoofing by Aaron Reeder as Andre and Sharmaine McGinnis as Charlaine in "How Ya Baby."

Mr. Reeder slickly slides, glides and provides some fancy footwork in "The Viper's Drag." 
Sullivan County Democrat
 

A highlight of the production features Reeder as a very limber Andre savoring a smoke and enjoying its pleasure with expressive dancing in "The Viper's Drag." Besides a convincing wish for a 5-foot-long cigarette, the tall and slim performer displays a smooth repertoire of fluid movements and gracious style.
Times Herald-Record

© 2018 Aaron Reeder                             

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