Reviews
...she is ideally paired with the classically handsome Brian Nabors, who brings Prince Topher to life with vigor and aplomb, his equally impressive vocal talents resulting in a performance of "Do I Love You Because You're Beautiful" that is, quite frankly, amazing... In retrospect, Harli Cooper and Brian Nabors may have sprung fully formed from the pages of a much-loved fairytale from childhood or, more likely, from the fertile imagination of a theater creator but they will fill your heart completely as Ella and Prince Topher...Nabors is tall, dark and handsome with a matinee idol presence that captivates his audience, whether he's cutting a heroic figure as he slays dragons with a single unfurling of his slingshot or parries impressively with the occasional monster or two in the deep recesses of an enchanted forest.
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Jeff Ellis, Broadwayworld.com
(Brian) has the face of Superman
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My most recent Lyft driver
Younger Brother (Brian Nabors) is a vocal talent to be contended with. With just a few songs to prove this in, Nabors succeeds with vehemence; his emotions bound up into every word he sings. The pure sound produced during “The Night That Emma Goldman Spoke at Union Square” is an early display of his changing passion. By the time Nabors reaches “”He Wanted to Say” the emotional build has peaked and explodes into his final verse of this number.
DC Metro Theatre Arts
Brian Nabors ably anchors the story as Huck. The actor possesses both a confident stage presence and a truly powerful singing voice, particularly in the ballad numbers. He’s a musical theatre natural with a long career ahead of him.
MD Theatre Guide
There is an ill-fated and unsavory ease that accompanies Dom Claude Frollo (Brian Nabors) onto the stage from the beginning of the performance straight through to the end. Nabors, as the brutally antagonistic man of the cloth, is ruthless in his pursuit of religious purity. With a flawless vocal sound, numbers like “Sanctuary” and his dual reprises of “Esmeralda” become unnervingly delectable. The rich timbre of his voice slips through these numbers like that of a fallen angel, dark and seductive, sending shivers up the spine. Delivering a bone-chilling rendition of “Hellfire”, Nabors all but stops the show with the final note of this number; the experience of this song on the whole feels driven by an unholy demon that has seized possession of his conscious mind, body, and voice making it nearly indescribably perfect. Printed word does not begin to do a fair justice to what Nabors creates in this overzealously pious character, particularly when it comes to the way he layers his interactions with Quasimodo.
TheatreBloom
