15003 Cherrywood Drive, Laurel, MD 20707, us

(301) 775-5690

Theatre/Film Director, Actor, Producer, Professor

Critical Review

  Direction and Choreography 


Consider the Ficus/ DC Queer Theatre Festival

“Festival organizer Matt Ripa did an excellent job ordering the shows, and as such the festival starts with a standout: Audrey Cefaly’s Consider the Ficus, directed by Carl Randolph. This play featured Frank Britton as Nate and Craig Houk as Garrison, who gave some of the strongest performances of the evening. On the day of the 2015 SCOTUS decision guaranteeing a nationwide right to same-sex marriage, Garrison, an environmental lobbyist, and his partner Nate, an editor, are working through a critical turning point of their own.

Cefaly did an exquisite job with the script, effortlessly flowing between the tender moments and conflict inherent in loving relationships faced with a seemingly insurmountable hurdle. Britton broke my heart as I watched him struggle with a personal loss in the face of a national gain for same-sex marriage. Houk’s Garrison is compelling as he struggles to find meaning in both his personal and professional life. Randolph’s direction created an engaging push-pull across the stage as the actors’ collided and drifted apart.”

~ Julie Janson, DC Metro, December 8, 2018  
  Repentance/ Capital Fringe Festival 

“What starts as a surrealist religious horror show descends into a riveting pre-mortem dialogue in Michael E. Hammond’s Repentance. Director Carl Randolph makes excellent use of the show’s location and minimalist design to create a sensory, wrenching drama that lets its two leads play perfectly-alike opposites, debating Heaven and Hell as purgatory dwindles away. The show’s production design embraces conflict through shadow-play. Randolph’s terrific direction is based in physicality. His actors are positioned before a white screen, front-lit to project exaggerated silhouettes emphasizing proximity and character-presumed influence.”  ~ John Connor Buckleyon, MD Theatre Guide, July 15, 2017   
  The Line/Catholic University  

“The choice of topic, age target, and script for THE LINE were all excellent and also timely. This is very much the sort of material that schools are looking for nowadays especially with the shocking rise recently reported in teen suicides. Schools should be booking plays line THE LINE as a way of addressing the problem and counter-acting homophobia and bullying in schools. Your sensitivity and commitment to the material as a director is clear.  Your Laurie Brooks style questions for the Post Show conversation with the audience would definitely work well and help to generate a lively, and potentially life-changing for some, discussion with teens.” ~ Kate Bryer, Imagination Stage, 2017 

 ...Never Dream, The Beginning/Film 

 “…Never Dream, The Beginning has stoked my curiosity for the fate of Sir Arthur Talon and, despite the abundance of vampire tales out there, both cinematic and otherwise, I’m still interested to see where the story leads. I don’t know if I’ll have the patience to wait for the next film to come along, if there is to be one, so I may just hunt down the source novel, but I definitely want to see the continuation of the film adaptation too.”     ~Film Threat, July 17, 2012 

 My Fair Lady/ Ritz Theatre 

“Credit goes to the strong cast and, above all, to Carl R. Boles for his winning direction and choreography. Earlier this season, Boles produced a sharply paced production of ‘A Chorus Line.’ ‘My Fair Lady’ is even better. Boles paces the show well and draws some vivid, polished characterizations from his cast. He handles the ensemble performers with special skill.”  ~Robert Baxter, Courier-Post, 1991 

A Chorus Line/ Ritz Theatre 

“Credit for pulling the complex production together goes to director/choreographer Carl Boles, making his directorial debut at the Ritz. Boles takes a hard-edged, no-nonsense approach that demands – and receives – the best from his cast.” ~Lysbeth Bledsoe, Burlington County Times,1991 

 Terra Nova/ Footlighter’s  

“Under the brilliant direction of Carl Boles, the production leaves the observer with a deeper understanding of the meaning of those words, Dignity, morality and survival when applied as a whole, not individually, give a hear-rending depth of meaning to a sad episode in history.”   ~Sarah Neill, The Journal, January 31,1997  

  “...sparkling with something close to brilliance, served well by director Carl Boles and an exceptional cast, recreate the deeply affecting tale of Scott’s unsuccessful attempt to discover the South Pole, without once resorting to tear-jerking or carpet chewing. Nor is the audience left depressed.”   ~Lysbeth Bledsoe, Burlington County Times, February, 1997 

  The Mousetrap/ Wayside Theatre “Detective Sgt. Trotter (Carl Randolph), with ever increasing urgency, pulls out every stop to get someone to spill. Randolph is a joy to watch in this role and builds a complex character layer by layer.” ~A carefully set 'Mousetrap' Maggie Lawrence, Culpepper Star, Oct 30, 2008  

 1776/Olney Theatre Center “Carl Randolph adds a sense of dignity as the Congress’ President, John Hancock.”    ~Brad Hathaway, Potomac Stages, April 27, 2008
 “Hancock must control through force of personality. Presiding Officer John Hancock (Carl Randolph) is not a major role, but it is an important one. He must be commanding or Congress will seem like mere anarchy, but he cannot seem overbearing, for fear that the conflict among the Congressmen will become secondary to a conflict between Congress and its President. Randolph, so charming as a lighthearted womanizer in Opus, is perfect in this role. He is a Hancock one would drink wine with, or turn to for advice.” ~Tim Treanor, DC Theatre Scene, April 21, 2008 

 The Importance of Being Earnest/ Wayside Theatre “The leading men, Ray Ficca as Algernon and Carl Randolph as John Worthing have a real chemistry on stage. Their physical movements around the stage, their hilarious facial expressions, and their comedic timing in the delivery of the always humorous dialogue, make the pair believable aristocratic friends.”  ~Melanie Mullinax, Winchester Star, July 16, 2004
 “Randolph skillfully encapsulates John’s conflicted emotions. His stiff upper lip quivers frequently at the obstacles he encounters in his pursuit of love.”    ~John Horan Jr., Northern Virginia Daily, July 17, 2004 

 Noel and Gertie/ MetroStage “Randolph’s performance is engaging, and Coward’s personality, that of an urbane, intelligent and slightly detached observer of the human condition is nicely crafted.”    ~Michael Toscano, The Washington Post, December 4, 2003 “Carl Randolph makes a suave Coward who seems as comfortable dancing the Charleston as he is when he stands about in his tuxedo, narrating the basic overview of the playwright’s life.” ~Celia Wren, The Washington Post, November 20, 2003 “As Coward, Carl Randolph fits the bill. He embodies the essence of Coward as he throws witticisms about the stage as easily as one throws a softball. He is all about sophistication and charm.” ~Tracy Lyon, Talkin’ Broadway.com December 3, 2003 

 Dracula/ Playhouse 22 “Randolph plays Dracula perfectly by letting the others on stage react to him.” ~Stuart Duncan, 1997
 And the World Goes Round/ Off-Broadstreet Theatre “Carl Randolph is the most convincing dancer of the group, his energy never falters.” ~ Peter Spencer, Bucks County Courier Times, March 15, 1994   “And just when you think it can’t get any better, Randolph stops everything with ‘Kiss of the Spider Woman,’ his voice rich and seductive.” ~Stuart Duncan, March 11, 1994 

 “...Carl is a commensurate performer, moving, acting and singing beautifully. He does a hilarious turn as a demanding choreographer in a comic number called Pain.”  ~Michael Kownacky, The Home News, March 18, 1994