Alan Ball is the reason to see “Gemini.”
His role as Fran in Nevada Conservatory Theatre’s production...isn’t showy. The union guest actor doesn’t have any big moments that scream for attention. But he’s a marvel for his ability to quietly inhabit the skin of another human being...
Watch Ball closely. His performance is as perfectly scaled for the front of the house as it is to the back. He’s so easy, direct and effective, I found myself wondering, “How the heck does he do it?”
Anthony Del Valle, Las Vegas Review-Journal
Conversations With My Father
In one of the best performances of the new theatre season, Alan Ball plays Eddie as a pugnacious dynamo, a man with the American dream in his heart and a chip on his shoulder.
Martin F. Kohn, Detroit Free Press
Loves Labors Lost
This splendid comedy provides a great showcase for, perhaps even more than the others, Alan Ball as Don Andriano de Armado. I'll wager that Ball's fantastic performance as this "fantastical Spaniard" will live in the memory of every one who sees this production.
Robert Delaney, New Monitor
Ball is especially riveting as he juggles the emotions - anger at being held captive, a growing fear of the strange woman who has him at her mercy - with the troubled mental states brought on alternately by severe pain and drug-induced euphoria.
Eric Crump, Marshall Democrat-News
Much Ado About Nothing
If an onlooker spoke no English or could not hear a word, the performance of Ball as Dogberry, the constable, would be worth the price of admission. The audience was most appreciative.
Holly Cogan, Brooklyn Exponent
Alan Ball plays the title role, a character who...wears his overweening hypocrisy with convincing aplomb...Ball presents a despicable character that the audience can’t get enough of.
Bridgette M. Redman, Between the Lines
Alan Ball demonstrates protean skill as some eight or more characters (including a unicycling Ringmaster.)
Mary Shen Barnidge, Inside Lincoln Park
Alan Ball makes more of simple Ellard Simms than I’ve seen in previous productions. His character is sensitive, loving and lovable.
Myrna Petlicki, Skyline
No Way to Treat a Lady
Alan Ball portrays the schlumpy Jewish middle-aged New York City detective Morris Brummel to near perfection.
Kate O’Neil, Lansing State Journal
Veteran actor Alan Ball was beguiling, evil, wise, wistful and everything required to play the compelling role of El Gallo.
Patty Nolan, Detroit Examiner
Alan Ball...is a joy to watch as the Duke of Clarence. He always delivers. He is probably exhausted after his shows because he gives everything and is always present.
Samantha White, Special to the Oakland Press
A Year with Frog and Toad
The highly experienced Alan Ball is especially honest and affecting as Toad.
Chris Jones, Chicago Tribune
The Thing About Men
Alan Ball’s portrayal of the faulty husband is real, in that it doesn’t try to explain away his inconsistencies. He’s callous about his own affairs, but is visibly heartbroken at his wife’s.
Erin Guerra, Post-Tribune
Henry IV, parts 1 and 2
Alan Ball is superb as Falstaff. His delivery, his physical presence, his manipulation of those around him is impressive. His speech questioning honor is moving and powerful. The speech drew applause from the audience on Saturday afternoon.
Ann Holt, Brooklyn Exponent
An Inspector Calls
Alan Ball is terrific as the unwavering Goole. No stony conscience on this man’s watch will be left unturned.
Susan Sweig, The Jewish News
This is a plummy role...and Ball runs with it, literally. Effervescing with nervous energy while he awaits the critic’s verdict, Ball trots around flapping his arms like a demented turkey.
Martin F. Kohn, Between the Lines
...Alan Ball in a breakout performance as a fast-talking talent agent.
Copley News Service
Let’s talk about what was terrific. Alan Ball. Alan Ball. Alan Ball. Anytime he was on stage, everything worked. Cast as the leading man’s comic sidekick, Hard-Boiled Herman, Ball made the most of every corny opportunity. He’s totally convincing, his body language is hilarious perfection, and he can sing. The audience couldn’t take their eyes off him.
Deanna Isaacs, The Reader
The Tin Pan Alley Rag
Under dimmed lights, Ball magically transforms from a youthful Irving Berlin to a bent old man. I don’t want to spoil this by revealing details, but the ending left me nearly shaking with great joy and almost unstoppable tears - the kind of tears one sheds when the beauty of life overwhelms.
Myra Eder, The Star
But if you must “send in the clowns,” let it be Alan Ball. He sings, he dances, he juggles - but even deep in the tomfoolery, he brings subtle dignity to a character dear to Shakespeare’s heart, the Wise Fool.
John Quinn, Encore Michigan
The Laramie Project
Alan Ball is mesmerizing as Matthew Shepard’s grief-stricken father.
Joan Behrmann, Oakland Press
This Stages production finds its momentum in Alan Ball's impassioned performance as John Adams...Every line he utters is undergirded with conviction.
Dennis Brown, Riverfront Times
Of Mice and Men
Alan Ball’s George combines the cocky cussing ill-temperedness of a heartland farmhand with a gentle paternalism that makes his role powerfully genuine.
Wayne Scott, Windy City Times
A Midsummernight’s Dream
A Midsummernight’s Dream can never fly without a heartfelt and funny Bottom. The veteran Alan Ball drew a supremely confident bumpkin.
Lawrence B. Johnson, The Detroit News
A Day in Hollywood/A Night in the Ukraine
Overseeing the domestic madness is Carlo, the footman (Alan Ball, performing the most convincing Chico Marx I can recall - other than the original.)
Kevin P. Murphy, The Times
Alan Ball’s impish Ché, the play’s sole skeptic and master of ceremonies, is a good foil for Ms. George’s haughty Evita. He’s a mimic, a gadfly and a healthy balance to the adoring crowd.
Sonja Halaka, Valley News
Hello Muddah, Hello Fadduh
Alan Ball, as Barry, possesses a finely honed sense of timing.
Robert Trussell, Kansas City Star
Two Gentlemen of Verona
Alan Ball does his typically superior job as he flies in and out of role and costume. He plays the Duke of Milan, Proteus’ mother, Launce - the play’s clown and Proteus’ servant - an outlaw and a musician. Each one is completely distinctive and each brings their own brand of comedy to the story.
Bridgette Redman, Encore Michigan
Twelve Angry Men
Alan Ball is on target as a house painter whose honesty is as evident as his lack of incisiveness or guile.
Vinny Reda, Schenectady Gazette
Rosencrantz and Guildenstern are Dead
In Stoppard's take, the itinerant players are a debauched lot, led by a posturing panderer given delectable voice and presence by Alan Ball.
Lawrence B. Johnson, Detroit News
The Roar of the Greasepaint...
The Smell of the Crowd
Alan Ball... has a fine voice and he is gifted with an acrobat’s poise.
Bernard Rice, The Star
Alan Ball...again shows his adept ability in either comedy or drama.
Don Snider, Theatre Look
Alan Ball, another Festival favorite, takes on the role of Caliban, bringing to it a base physicality that makes him monster to Ariel’s spirit. He moves with a crookedness that he carries on consistently throughout the show, even as he engages in tumbles and pratfalls and fisticuffs. His energetic portrayal is an impressive physical accomplishment.
Bridgette Redman, Encore Michigan
Alan Ball’s Faulkenbridge is taut, menacing, and almost jingoistic.
John Quinn, Encore Michigan