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News About Michael Mayes
Recent acclaim for ADA Artists
AND THE BEST OF THE YEAR IS…
“Dead Man Walking,” Tulsa Opera’s extraordinary production of the opera by Jake Hegge and Terence McNally. Brutal and tender, uncompromising yet accessible, beautiful and horrifying, it was easily the best production this company has presented in more than a decade and an experience … read more
“DMMO’s first-rate Don Giovanni (seen June 29) was graced by a powerful performance of the leading role, a strong trio of inamoratas and an insightful staging by Tim Ocel that registered with the theatrical truth of a legit drama. Michael Mayes traded in his habitually genial persona for a skillful … read more
” In this production, baritone Michael Mayes— terrific as the candidate, bigger than life, jutting of jaw and adorned with a Reaganesque pompadour — parades his pasted-on smile and fake bonhomie before an enormous American flag backdrop.”
“The orchestra consisted of a violin, cello, woodwind and keyboard quartet expertly … read more
“And every aspect works so well that Tulsa Opera’s “Dead Man Walking” is absolutely gripping from the start of its elegiac overture to the final iteration of the hymn that, in its child-like simplicity, sums up the hope of us all. “
“The production is anchored by searing, incandescent performances … read more
How does one prepare to play a character that is convicted of murder?
Joseph de Rocher is a composite character, meant to embody the spirit
of the men that Sister Helen Prejean accompanied on their final walk.
For an actor with my background, this is a perfect situation. While I… read more
“And in his role debut, baritone Michael Mayes clearly won the hearts of the balcony gang as Papageno, the lusty but timorous bird catcher who gets looped into accompanying the prince on his rescue quest and ends up enduring trials he’d really rather not. Mayes proved to be a delightful … read more
“Mayes had the most powerful voice among the four leading singers, and sometimes he overwhelmed the others, but for the most part he used his warm baritone and ease on the stage to project the volatile character of the painter.”