Chicago Tribune - Chris Jones
"... And although Sandys is very much an actor who sings rather than a legitimate vocalist..., his Arthur is both vulnerable and likable. Sandys conveys the most crucial themes of this show: The difficulty of putting your own life aside in service of an ideal, the pain of betrayal and the dangers of disillusionment and regret, all while showing the rewards of striving to do the right thing." Read Full Review
Chicago Sun-Times
"Nick Sandys... is a fine Arthur, brimming with idealism and good will."
StageandCinema.com - Dan Zeff
"The heart of the revival is Nick Sandys as King Arthur. Sandys is one of Chicagoland theater’s best actors and he’s a decent enough singer to get through the role.... Sandys makes Arthur a strong and convincing character, and that’s sufficient to elevate the production into a success."
Chicago Theater Beat - Lauren Whalen
"The strongest aspects of this Camelot are its dynamic leading man and its lovely vocals.... [Sandys'] Arthur is funny, endearing, and indisputably enamored of his Guinevere. When Arthur is boastful and cocky, the audience laughs along; when he is hurt and confused, the audience coos in sympathy. Sandys and Sophia create a tangible chemistry..."
NewCityStage - Dennis Polkow
"...Sandys does something refreshing that I have never heard another Arthur do: he actually sings the lines as written rather than speak them in rhythm. Thus, when Arthur does speak a song lyric--such as the benediction at the show's finale--it has far greater impact. He also brought a sensitivity to his closing Act 1 "proposition" monologue that was the highlight of the show."
Chicago Stage Standard - Lawrence Bommer
"...Best of show is Nick Sandys’ ardent, brilliant Arthur. His contagious passion for Camelot (in the delightful title catalogue song) fuels even his clumsy questioning (“How To Handle A Woman”). In the final scene, where Arthur passes his legend onto young Tom of Warwick (to be followed by Sir Thomas Malory, Alfred Lord Tennyson and T.H. White), there wasn’t a dry eye in this critic."
"... And although Sandys is very much an actor who sings rather than a legitimate vocalist..., his Arthur is both vulnerable and likable. Sandys conveys the most crucial themes of this show: The difficulty of putting your own life aside in service of an ideal, the pain of betrayal and the dangers of disillusionment and regret, all while showing the rewards of striving to do the right thing." Read Full Review
Chicago Sun-Times
"Nick Sandys... is a fine Arthur, brimming with idealism and good will."
StageandCinema.com - Dan Zeff
"The heart of the revival is Nick Sandys as King Arthur. Sandys is one of Chicagoland theater’s best actors and he’s a decent enough singer to get through the role.... Sandys makes Arthur a strong and convincing character, and that’s sufficient to elevate the production into a success."
Chicago Theater Beat - Lauren Whalen
"The strongest aspects of this Camelot are its dynamic leading man and its lovely vocals.... [Sandys'] Arthur is funny, endearing, and indisputably enamored of his Guinevere. When Arthur is boastful and cocky, the audience laughs along; when he is hurt and confused, the audience coos in sympathy. Sandys and Sophia create a tangible chemistry..."
NewCityStage - Dennis Polkow
"...Sandys does something refreshing that I have never heard another Arthur do: he actually sings the lines as written rather than speak them in rhythm. Thus, when Arthur does speak a song lyric--such as the benediction at the show's finale--it has far greater impact. He also brought a sensitivity to his closing Act 1 "proposition" monologue that was the highlight of the show."
Chicago Stage Standard - Lawrence Bommer
"...Best of show is Nick Sandys’ ardent, brilliant Arthur. His contagious passion for Camelot (in the delightful title catalogue song) fuels even his clumsy questioning (“How To Handle A Woman”). In the final scene, where Arthur passes his legend onto young Tom of Warwick (to be followed by Sir Thomas Malory, Alfred Lord Tennyson and T.H. White), there wasn’t a dry eye in this critic."
