Ben Beckley

HOME/SICK

"The performances — especially Edward Bauer as a conflicted bomb maker and Ben Beckley as a narcissistic socialist — are sharp and committed."
Catherine Rampell, The New York Times

THE SISTER

"The acting was incredible, the direction taut and precise, the set and lighting design deepened the feeling of cruelty and abandonment and fear that the play elicited. The writing was strung with high-flying tension wire...."
Libby Emmons, New York Theater Review

THIS TIME TOMORROW

"A marathon performance of immense profundity. Though it requires a great deal from performers and spectators, This Time Tomorrow gives back in spades."
Benjamin Sutton, The L Magazine

THE COCKTAIL PARTY

"This production is being performed with elan by a high-class ensemble cast. The run has been extended for a week. It should have been a year."
Terry Teachout, The Wall Street Journal

THE THREE SISTERS

"The promising cast includes Kate Benson and Ben Beckley, who was riveting in last year's The Confidence Man."
John del Signore, Gothamist

'TWAS THE NIGHT BEFORE...
("NOT A CREATURE WAS STIRRING...

"Ben Beckley is hilarious as the short-fused father."
Neil Genzlinger, The New York Times

THE CONFIDENCE MAN

"During the three years I've been covering theater for Gothamist, I'm quite confident I've never deployed the oft-overused word 'genius' to describe a production. So then perhaps you'll trust me when I tell you The Confidence Man is most definitely a work of dazzling genius, a spellbinding feat of collective creativity."
John del Signore, Gothamist

WELCOME TO NOWHERE

"Once we've discerned that these unnerving performers aren't planning to whip out pistols and sprinkle bullets into the audience (craggy-faced Ben Beckley seemed a likely suspect), we find ourselves entering their lonely, disoriented world."
Abigail Deutsch, The Village Voice

TWELVE OPHELIAS

"It's absolutely refreshing, in the present-day theatre world full of shows that can easily be TV sitcoms or TV dramas, to see a production that's truly, genuinely, wonderfully theatrical."
Saviana Stanescu, nytheatre.com

CATO

"...this rich play, which receives a rare and powerful staging by Jim Simpson at the Flea Theater, resists simple characterizations, and its explorations of leadership and honor during wartime make it more than just a historical curiosity."
Jason Zinoman, The New York Times

LOS ANGELES

"Director Adam Rapp colors the proceedings with menace and shade, allowing each actor (most of them non-equity thesps from the Flea's resident company) the chance to murkily shine."
Alexis Soloski, The Village Voice

OFF STAGE: THE WEST VILLAGE FRAGMENTS

"...warmhearted and well-researched; a treat for anyone with an interest in the origins of downtown theater."
Jason Zinoman, The New York Times

THE ILLUSION

"The father is a self-satisfied lawyer, played with exacting, black-suited priggishness by Ben Beckley."
Louise Kennedy, The Boston Globe

ANDY AND EDIE

"...kudos to Ben Beckley for his spot-on vocal mimicry..."
Deidre McFadyen, Off-Off Online

"Ben Beckley offers a quick, pungent cartoon of the late George Plimpton."
Adam Feldman, TimeOut New York

MACBETH

"Ben Beckley essayed the role of Duncan well."
Elias Stimac, The Off-Off Broadway Review

ARCADIA

"There hadn't been a buzz on the Princeton campus to match Thursday's opening night excitement for Tom Stoppard's Arcadia at Theatre Intime since a celebrated production of Equus half a generation ago. Ben Beckley is a dour Valentine, relieved nicely by occasional spurts of pithy humor."
Stuart Duncan, The Princeton Packet

KISS OF THE SPIDER WOMAN

"Beckley's Valentin plays nicely off [Rakesh] Satyal's lighter Molina. His highly-stylized voice is ideal for the most intense moments of the musical, bringing a great deal of strength to numbers such as 'Over the Wall' and 'The Day After That.' It is a difficult part to tackle and Beckley does so with gusto."
Iris Blasi, The Daily Princetonian

PICASSO AT THE LAPIN AGILE

"Benjamin Beckley '02 prances onto stage as Picasso and his exuberance about painting and womanizing immediately captivates the audience. As he waves his pencil, his words enthrall."
Aili McConnon, The Daily Princetonian