Reviews

Irving Berlin's White Christmas on Broadway

"Jeffry Denman, lanky and lithe, dances with sleek facility in the airborne Astaire style. He opens the second act leading a bouyant production number set to "I Love A Piano."

Charles Isherwood, New York Times

Elegant teamwork from Denman and Patterson, who lead "The Best Things Happen While You're Dancing" and "I Love A Piano."

David Rooney, Variety

The show is at its most bouyant when Jeffry Denman and Meredith Patterson are tapping their hearts out in numbers such as that ragtime chestnut "I Love A Piano." Or when they are gliding across a nightclub floor in the appropriately titled "The Best Things Happen While You're Dancing."

Michael Kuchwara, AP

"Jeffry Denman offers more fancy footwork and a glimmer of Danny Kaye's goofiness, as Phil Davis."

Elysa Gardner, USA Today

The Gershwins' An American in Paris - Alley Theatre, Houston

"Jeffry Denman is virtually handed the show on a platter as Preston, and he rises to the opportunity. He's a nimble dancer, joyous singer, irrepressible cut-up as the gotta-sing, gotta-dance guy — a bit Donald O'Connor, a bit Danny Kaye, all fun."

"A song-and-dance man in the classic tradition."

"...energizes the stage with his vibrant singing, exuberant dancing and irrepressible clowning..."

Houston Chronicle

Irving Berlin’s White Christmas – Boston 2007

Brian d'Arcy James and Jeffry Denman set a tone that is so crisp that it nearly sizzles. [They] seem to bring everyone's performance level up a notch. These two have the wonderful ability to deliver routines and production numbers with incredible polish and make it look effortless. The tap sequence for I Love A Piano is almost worth the price of admission alone.

Boston Globe

James and Denman deliver effortless fun as Bob and Phil, with just the right amount of old school charm, cheeky delivery and vocal chops. …Denman and Patterson are the star hoofers. In fact, the dance numbers are the real crowd pleasers.

Boston Herald Review

Standout performances turned in by…the inimitable triple threat Jeffry Denman as Phil Davis. As smooth as Fred Astaire, athletic and charming as Gene Kelly, and funny as Donald O'Connor, Denman commands your attention…

BroadwayWorld.com

Jeffry Denman displays panache and flair as the flashy Phil. Denman and Patterson move with striking grace and ease…They also glide through the second act-opening "I Love a Piano," the highpoint of the show [where] Denman smartly executes an extended tap on top of a small keyboard.

Patriot Ledger

Yank! - Gallery Players, Brooklyn

Denman is also notable as Artie…portraying his character with a breezy nonchalance. Denman’s dancing is tops; nobody in the show holds a candle to his tapping feet.

The Brooklyn Paper

For his part, Denman positively explodes with energy and charisma, particularly during his wonderful tap dancing sequences (the actor also doubles as the show's choreographer). His duet with Steggert, "Click," is the song-and-dance highlight of the show.

Theatremania.com

Yank! has retained much of the warmth and soul that made it such a highlight of the 2005 New York Musical Theatre Festival, and even held on to director Igor Goldin, whose staging bursts with quiet sensitivity, and Denman, just as electric now as he was then.

Matthew Murray, Talkin Broadway

On Your Toes

"This improbable role was originally tailored to the peculiar talents of Ray Bolger, but treetop-tall, lithe and likable Denman occupies it completely and even renders it believable. Beyond his peerless, effortless show dancing, his goofy innocence is an ideal foil for Yvette Tucker's temperamental, libidinous prima ballerina -- is there any other kind? -- yet he's sincere and restrained in his personal dealings with Beth Malone [as Frankie]. She and Denman reinvent the score's one true standard, "There's a Small Hotel," as a complex three-act play of flirtation, emotional realization and aching desire that makes you wish you never had to see any more musicals without Malone and Denman in them."

Variety

"Broadway's Jeffry Denman (from 2005's White Christmas at the Pantages) is the ultimate triple threat as vaudeville baby Phil Dolan III turned nerdy prof. Tall, lean, and lanky, Denman is a sensational musical theater comic leading man in the tradition of Ray Bolger and Bobby Van."

LA Stage Scene

"Jeffry Denman is wonderful as Junior, the professor with a hoofer's soul. He has real chemistry with Beth Malone, whose piquant ingénue stills the house at "Glad to Be Unhappy," and the delectable Yvette Tucker, whose tempestuous ballerina exhibits high comic élan and an elegantly liquid line."

Los Angeles Times

"Denman is a fantastic song and dance man, as he taps his way through classic vaudeville numbers and spins on stage in true ballet fashion. His take on Junior is that of being straight out of Mayberry, with a gosh-golly-gee attitude. Last time Los Angeles enjoyed Denman was in Irving Berlin's White Christmas at the Pantages, and he is a dancing treasure who can hopefully find another project to take up in this vast city."

BroadwayWorld.com

"a generally excellent cast, led by the enormously talented Jeffry Denman. Whether singing, dancing or acting, Denman is a totally brilliant performer who commands the stage with every step he takes."

Hollywood Reporter

"The production's real find, however is Denman, who combines a bookish sexiness with a hoofer's grace. Sharing a love duet with Beth Malone or bumblingly sabotaging the company's "Princesse Zenobia Ballet," the man's got all sorts of charm. And when he and Yvette Tucker get it on during the climactic "Slaughter on Tenth Avenue" ballet, look out! ...a viewer has some idea what the discovery of Ray Bolger (who originated Denman's role) must have been like back in the day."

LA Daily News

"As the male romantic lead, Jeffry Denman is a star on the rise. He has looks, charm, and sharp comedic skills, and he sings and dances like a champ."

Backstage

Crazy for You

North Shore Music Theatre

"Jeffry Denman gives the dancing banker, Bobby Child, a lively twinkle, and he's especially fine in the lilting "Nice Work If You Can Get It.""

Boston Globe

"Brilliant and believable in the central role of Bobby Child is the outstanding Jeffry Denman. That's quite a trick - to be believable in this show's deliberately arch and preposterous plot. His dancing is wonderful and his acting heartfelt. He is exceptionally gifted at physical comedy and oh, what a singer."

North Shore Sunday

"Denman's sweet tenor, fine acting and nifty hoofing as Bobby..."

Winthrop Sun Transcript

"Kudos to a dynamic leading man who delivers the goods in this role."

Theatre Mirror

Ogunquit Playhouse

"The audience was crazy for Denman the moment he appeared. The magnetic showman mesmerized the audience with warm vocals, sensational tap dancing and outrageously funny comic delivery."

Portland Press Herald

"Both Denman and [Beverly] Ward are sensational individually and even better together... stimulating in their roles."

The Coastal Scene

"There's simply nothing this man can't do beautifully and with style: act, sing and dance. Had they let his key dance scenes go longer - say a half hour or so - the audience would have stayed glued. He's simply mesmerizing."

Seacoast Online

Standard Time with Michael Feinstein at Carnegie Hall

Jeffry Denman, who recently triumphed in the Encores! production of Face the Music," offered some familiar anecdotal trivia concerning the beads and feathers adorning the gowns of Ginger Rogers that ultimately distressed Astaire. Lean and lithe, Denman sang the Gershwins' "A Foggy Day" punctuated by a crispy tailored tap dance and followed by Berlin's "Let's Face the Music and Dance." For the latter he was joined by a radiant Erin Crouch to dance with the kind of silver-screen allure that defined black-and-white romanticism.

Variety

Face The Music

"Ms. Patterson and Mr Denman have most of the vocal chores and their light lyric voices blend beautifully on those two enduring tunes I mentioned above (Let's Have Another Cup of Coffee" and Soft Lights and Sweet Music" as well as another throwaway charmer about bucking up and plugging on lovably titled, "I Say it's Spinach (And the Hell With It)." [Denman and Patterson] share a nice rapport on the dance floor."

Charles Isherwood, New York Times

"John Rando's exceptionally deft staging and Randy Skinner's sweet and funny pastiche choreography pinpoint both period and style, and the performances from start to finish are a total joy. Meredith Patterson and Jeffry Denman make the swellest pair of juveniles."

Clive Barnes, New York Post

"'Let's Have Another Cup Of Coffee' and the haunting 'Soft Lights and Sweet Music,' gracefully sung and danced by Jeffry Denman and Meredith Patterson. Denman and Patterson carry the yeoman's share of Berlin's score...they also perform much of [Randy] Skinner's terrific Fred-and-Ginger choreography"

Michael Kuchwara, AP Drama Critic

"The duo [Denman and Patterson] have some lovely romantic numbers and a graceful dance interlude including the show's other standard, "Soft Lights and Sweet Music."

David Rooney, Variety

"Blond Jeffry Denman and beautiful Meredith Patterson fly high through airily romantic numbers"

Michael Sommers, NJ Star Ledger

"The show really gets going whenever the dancing starts. Meredith Patterson and Jeffry Denman avoid the trap of playing the young lovers as simpering saps and smartly execute Skinner's smart choreography"

David Sheward, Backstage

"Depression darlings Kit Baker and Pat Mason exceptionally played by Meredith Patterson and Jeffry Denman..."
There's one sublime number, Manhattan Madness, that lets Denman sing to the backdrop of 1932 New York photos."

David Toussaint, EDGE New York City

Broadway By The Year - 1928

"Singer-dancers Jeffry Denman and Joyce Chittick were equally adept in spanning the spectrums of the comedic and the romantic that became the hallmark of Monday night's concert. In a beautiful tenor, Denman delivered 'You're the Cream in My Coffee' from Hold Everything, a number for which he provided choreography."

Andy Propst, American Theatre Web

"You’re the Cream in My Coffee” and “Room With a View” were also nicely handled by Denman, who is fond of adding a bit of dancing to his stylish presentations."

William Wolf, Wolf Entertainment Guide

"Jeffry Denman got the charm award not only by dancing supremely with the choice Joyce Chittick (bravo!) but with his engaging vocals and personality via You’re The Cream In My Coffee and substituting last minute for an scheduled performer (Malcolm Gets) stranded out of town, taking on A Room With A View by Noel Coward."

Rob Lester, The Edge

Broadway Unplugged III - Town Hall

"The earliest example of landmark musical theater before microphones came into use was illustrated in a rousing display of patriotic sentimentality with 'Yankee Doodle Dandy,' the flavorful 1904 ditty from 'Little Johnny Jones.' A lanky Jeffry Denman sang the George M. Cohan flag-waver, punctuating it with a spirited tap dance."

Variety

"Not many are equal to the task of scoring with 'Yankee Doodle Dandy' from 'Little Johnny Jones' but Jeffry Denman handily made the selection his own whether singing or dancing, and adding a sunny personality to both."

Wolf Entertainment Guide

"The selections for the evening spanned over a century, the oldest being George M. Cohan's 'Yankee Doodle Dandy,' where Jeffry Denman not only sang with gusto, but performed an exceptional tap dance routine. While his lovely tenor and terpsichorean feats might have left audiences breathless, 'Yankee Doodle' didn't even seem to wind Denman.

American Theatre Web

City Center Encores! Of Thee I Sing

"Randy Skinner's Fred-and-Gingery choreography, also expertly performed, provides some extra verve."

Charles Isherwood, NY Times

"Also making perfect fools of themselves are Michael Mulheren, Lewis J. Stadlen, Jeffry Denman, Jonathan Freeman...."

David Finkle, Theatremania.com

"Jeffry Denman and Mara Davi, lighten up the interstitial festivities by leading some fine dancing in numbers like 'Love is Sweeping the Country' and 'Hello, Good Morning.'"

Matthew Murray, Talkin' Broadway

"The suave dancing of Jeffry Denman and Mara Davi is a highlight."

Broadway.com

"Anyone who doesn't think Of Thee I Sing is a dance show had better think again! Skinner has turned several numbers into rip-roaring tap-fests -- and talented lead dancers Jeffry Denman and Mara Davi kick up some genuine stardust to make it all happen."

John Kenrick - Musicals101.com

Broadway By The Year - 1968

"But I was knocked for a loop by Jeffry Denman who ended, Act 1 with a singing-dancing, off-mike rendition of "Give My Regards To Broadway" from George M!" Limber and lanky, with a smile and razzmatazz, Denman gave new life to the old standby."

Wolf Entertainment Guide

"Jeffry Denman, late of The Producers, would have made both Mr. Cohan and James Cagney proud with his unmiked rendition of "Give My Regards to Broadway," complete with a wonderful tap dance choreographed by Denman himself."

BroadwayWorld.com

"Jeffry Denman supplied the show's far more interesting dance component with the first act finale, drawn from George M! : "Give My Regards To Broadway." Singing (unamplified and with no words lost) and tapping his way through the Cohan classic, Denman proved that there was indeed real, exciting music in the best Broadway tradition heard on the great White Way in 1968."

Matthew Murray, BroadwayStars.com

Children of a Lesser God

"As the wry teacher who must speak most of the play's lines, Mr Denman has a pleasingly musical Broadway voice."

-New York Times

"... riveting performances by Jeffry Denman and Alexandria Wailes in the roles created by John Rubenstein and Phyllis Frelich is beautifully acted and staged. Denman faces the same challenge that Rubenstein and William Hurt (in the film) did: keeping his voice flat and uninflected when translating Sarah's signing so that he doesn't alter her meaning. In the second act, however, he allows his feelings to pour out in their escalating battles."

-Backstage

"Jeffry Denman, who plays James Leeds, has perhaps the most arduous role. He must bridge the distance between the world of the deaf and the world of the hearing. Denman does this with humor and compassion. His nuanced performance does not leave his character isolated in heroism, but vulnerable as a man who loves a woman he can never have completely"

-NY Theatre Wire

"The big surprise of this production is Denman, who's primarily known to local audiences as a musical theatre performer for his work in The Producers and the NYMF production of Yank. He tackles this incredibly challenging part - he must sign almost continually while speaking for both himself and Sarah - with great aplomb, displaying just the right measures of charm, sarcasm, hurt and anger as the part requires. Denman gets to show of his versatility and that's probably the best reason for this revival to be seen."

-Theatermania.com

"Jeffry Denman is sincere and charming as James Leeds."

-CurtainUp.com

White Christmas - Los Angeles 2005

"[Brian d'Arcy] James and [Jeffry] Denman are dynamic as actors and dancers and, whether paired with Barzee and Patterson or Rita (Erin Crouch) and Rhoda (Kristen beth Williams) the scenes buzz with electricity."

-VARIETY

"Strong and winning...filling Danny Kaye's dancing shoes."

-LA Chronicle

"[JD] has the jazzy, hopped-up energy of a vaudeville trained actor, and he dances beautifully."

-OC Register

"...a talented, likeable ladies man who sings, dances and acts."

-Hollywood Reporter

White Christmas Artwork by Justin Robertson

From Singin' in the Rain

"Speaking of icons, the first act closes with Denman in the title number - the man and the rain, the umbrella and the joy. He makes it irresistible"

St. Louis Dispatch - Judith Newmark

"Usually when this stage version of the classic 1952 movie musical is produced, actors in the lead role do their best to ape Gene Kelly's aggressive, toothy, “love me” style. But in his Muny debut, Jeffry Denman does something almost seditious: He channels the athletic Kelly through his prism of the debonair Fred Astaire. Watch how Denman glides across the stage crooning “You Stepped Out of a Dream.” He even phrases Kelly's songs as Astaire would sing them. This original performance gives us the best of both MGM musical-stars.

The evening belongs to Denman. When, during the title song which faithfully adheres to the movie choreography, he suddenly leaps out of the rain set onto the dry forestage, it is a breathtaking merger of theater and film, a stunning moment not to be forgotten."

Riverfront Times

From White Christmas - San Francisco, 2004

"James [Bob Wallace] and Denman's Phil Davis pair up pleasantly as the central song and dance team."

"Denman and Meredith Patterson's fiestier romance ignites several times over in wonderfully executed song and dance duets. Their beguiling enthusiasm seems to propel "I Love a Piano" into an ensemble tap eruption of exhilarating energy."

Robert Hurwitt, San Francisco Chronicle

"Patterson and Denman are the secondary romantic leads, but they steal the audiences affection early... They do it again during the take-no-prisoners, "I Love A Piano" production number and its a shame we don't get to see them at least a dozen more times."

Chad Jones, Oakland Tribune

"Allowed to be the more fun couple, Denman and Patterson run with it, with his dance moves a particular pleasure to watch."

Dennis Harvey, Variety

From Change Partners

"Change Partners may be the best new musical that MusicalFare Theatre has premiered. It's original, charming, touching and it has the best 14 legs you're bound to catch on any local stage for some time."

"Denman is breathtaking. His interpretations of Astaire's singnature mannerisms and personal stylings are a pleasure."

Benjamin Siegel, Buffalo News

From I Love A Piano

"Jeffry Denman reaches a peak with perhaps the loveliest song heard all evening, "How Deep Is The Ocean." His warm baritone is enjoyable throughout the show, notably in "The Girl That I Marry." He also has a talent for comedy that is put to good use."

Allen Young, Variety

"Jeffry Denman, late of The Producers, reveals his comic gifts. He above all in the show captures the vocal styles of the period, from the Jolson-esque phrasing of the 1920s to the crooning of the '40s."

Lisa Bornstein, Rocky Mountain News

From The Producers

"Because I so enjoyed his book, 'A Year With The Producers'...I was more conscious about how much Jeffry Denman, who plays such roles as the blind violinist and Roger DeBris' live-in choreographer, contributes to the overall madness."

Howard Kissell, Daily News

From A Foggy Day

"As Steve Riker…Jeffry Denman is a tip top leading man who snappily suggests, but does not slavishly imitate, the Astaire style and talent."

Richard Christiansen, Chicago Tribune

"Denman is a superb athletic dancer, showing some terrific table-top tap in 'Pay Some Attention To Me' and inviting membership in the elite Astaire/Kelly school of gymnastic achievement elsewhere. He can act too, taking on a London accent and exploiting a range of appropriate gesture..."

Geoff Chapman, Toronto Star

From Dancing in the Dark

"It would seem with someone as singular as Astaire it would be impossible to step into his dancing shoes, but Denman does a creditable and winning job of it. … All in all, with his grace, the way he moves in half dark, you might mistake him for the man himself."

Terry Doran, The Buffalo News

Q: What did you think of Dancing in the Dark?
A: I was really delighted with the concept. Jeffry is just marvelous. At some moments, he really got my father's mannerisms down.

An interview with Ava Astaire McKenzie (Fred Astaire's daughter)