Jared Troilo (who happens to be Jewish, like Wellerstein) demonstrates both his vocal gifts and a knack for physical agility (in other numbers as well) as Jamie speaks of Washington Heights, biblical-like wandering and his readiness to be Cathy’s “Hebrew slave” in the very snappy early number “Shiksa Goddess.” The high demand performer displays his rich and impressive range (that fans of his work will remember in shows like “My Fair Lady,” “Dogfight” and “She Loves Me”—the last an IRNE award performance) in a vivid narrative song called “The Schmuel Song” and a haunting brutally honest number entitled “Nobody Needs to Know.” In “The Schmuel Song,” Troilo wears a kipah (Jewish skullcap) and delivers the tale with great expression—especially with physical agility as the story personifies a clock and strains of klezmer music are heard. By contrast, he displays a telling urgency in “Nobody Needs to Know,” as Jamie rises from a bed where he has slept with an unseen woman and somewhat admits his mistake. Troilo once again demonstrates a Broadway-caliber talent.
-Boston Theater Wings
They’re evenly matched in “The Last Five Years,” whether performing separately (nearly all of the songs are solos) or together (in the brief moments when Jamie and Cathy directly interact). Both Troilos communicate the full measure of ardor, humor, and aching loss in Brown’s quasi-autobiographical musical. Jared Troilo makes Jamie a bit more sympathetic than other productions of “The Last Five Years” that I’ve seen, though some in the Lyric Stage audience did gasp at Jamie’s cruelty when he tells Cathy in song, joltingly, that “I will not lose because you can’t win.
-The Boston Globe
Having witnessed amazing Jeremy Jordan as Jamie in the film adaptation, Jared had a lot to live up to, but he captures the essence of Jamie’s endless humor, charm, and determination while adding his own contagious enthusiasm and captivating vocals. He is a gleeful and conspiring storyteller for The Schmuel Song and displays ego and earnest sincerity in If I Didn’t Believe in You.
-The Sleepless Critic
With his superb voice, Troilo (Monty Navarro) gives a riveting performance, perfectly balancing himself on the D'ysquith tightrope walk.
Jared Troilo plays Monty and he achieves some of his finest work on the Boston stage to date. A perfect mold for the leading man, Troilo's vocals are, as ever, pitch perfect, But with Monty Navarro, Troilo has the opportunity to stretch his acting into morally complicated realms."
The forceful ardor Troilo brings to “If Ever I Would Leave You’’ doesn’t just get Act 2 off to a strong start; it communicates the stakes, as Lancelot sees them, of the forbidden romance with Guenevere that will ultimately throw the royal court into turmoil.
This is not the first Lerner and Loewe musical for Troilo: He was a memorably foppish Freddy Eynsford-Hill in “My Fair Lady’’ at Lyric Stage two years ago. In “Camelot,’’ Troilo fortifies his status as a performer who blends romantic charisma with sharp comic timing as well as anyone currently working on Boston stages. Somebody really ought to cast this actor in a Noel Coward play
-The Boston Globe.
When Troilo sings the wistful ballad “Easy to Love” (Anything Goes) in act one, it’s clear that the lyric could also easily apply to Billy.
Her fantastic leading man is Jared Troilo as Billy. He’s another triple threat performer. Jared handles his comic shtick perfectly. He also possesses a marvelous tenor voice which he displays in “You’re the Top” with Reno, “Easy to Love” and “It’s DeLovely” with Hope as well as “All Through the Night” with both Hope and the crew. Jared displays his dancing prowess in “You’re the Top” with Reno and “It’s DeLovely” with Hope. His falsetto is terrific when he pretends to be an old lady in a wheelchair at the start of this number. Billy’s many comic disguises are hilarious as he tries to escape from the purser and the other sailors.
Jared Troilo lends his matinee idol good looks and mellow tenor voice to the ardent Billy Crocker, who is trying to move up in class by pursuing debutante Hope Harcourt, played as a combination good girl/rebel by Libby Rosenfield. On her own, her silky soprano soars plaintively ("Goodbye, Little Dream, Goodbye"), and she blends harmonically with Troilo when they duet ("It's De-lovely," "All Through the Night").
Jared Troilo gives the best-sung performance as bisexual novelist-tutor Clifford that this critic has seen (including both of the Alan Cumming-starring revivals and several Boston productions).
He rivetingly catches Bradshaw's rage as well as tenderness with Bowles as well as his early combination of naiveté and renewed attraction to Kit Kat Club Bobby (whom he met at the Nightingale Club in London in his back story). His duet on the disarmingly carefree early "Perfectly Marvelous" duet with Doherty has appealing chemistry.
Jared M. Troilo, whose singing and performance as Nick Hurley were the perfect blend of relatable, scene appropriate, and talented. His singing has a soft yet powerful quality, and his acting feels believable and real as he transforms through being the rookie, the relatable boss, and the love interest
Ever-powerful, award-winning Jared Troilo portraying Dale, a male prostitute, struts around like an athletic peacock, flexing his muscles, but reveals his emotional pain and loneliness, by being rejected, ratcheting up his bitterness. Troilo’s dramatic solo,“Better than Silence,” is powerful.
-East Boston Times
Only Jared Troilo's Lancelot fully convinces. Though he's delightfully vainglorious, Troilo makes it clear that this "godliest man" is not the superhero he proclaims himself to be. This Lancelot seems to realize he's as human as the others, torn between his growing love for Guenevere and his sacred principles of virtue and purity. When Troilo finally delivers that big ballad, "If Ever I Would Leave You," he starts almost at a hush, like he's discovering these feelings for the first time as he's singing them. As he builds to a full-throated final verse, we're bewitched. Is it any wonder why the kingdom falls apart?
The musical springs to life when tall, dark and handsome Jared Troilo enters as Lancelot. His majestic baritone voice wins many laughs as he delivers the comic “C’est Moi”, and many tears with the poignant “If Ever I Would Leave You” in the second act, and again when he and Maritza sing “Before I Gaze at You Again” at the end of Act 1. His high energy portrayal captivates the audience from start to finish and it is as if the role was written for him.
Troilo seizes, with gusto, his own chance to showcase his comedy chops. Troilo has demonstrated very impressive range. Troilo endows Marcus with an appealing combination of self-seriousness and goofiness
-The Boston Globe
Jared Troilo as pseudo Detective Moscowitz is right at home in his role as the nervous cop trying to solve the big crime. His singing and dancing is a reminder of how much fun theatre can be, even if it’s about a murder. While the part was not written for him he performs it like it was.
-Boston Post Gazette
Troilo has shown his chops at the Lyric Stage in last year's My Fair Lady (Freddy Eynsford-Hill) and in a trio of shows at SpeakEasy Stage (Far From Heaven, Significant Other, and Dogfight), but playing Marcus Moscowitz takes advantage of different talents. The obvious one is serving as his own accompanist, but the role calls for him to play comedy and to let us see his sweet vulnerability, as well. He and Salpini have great chemistry in their scenes and make beautiful music together at the keyboard.
In "Significant Other" Will is portrayed by Jared Troilo, who adds another stellar turn to his growing roster of indelible performances
-The Boston Globe
In "Significant Other" Jared Troilo performs shape-shifting miracles.
Troilo, one of the finest actors in Boston, brings polish and oomph to this production (Dogfight). His stage presence is unmatched, and he infuses some much-needed confidence into every scene he's in.
"Troilo’s performance of “On the Street Where You Live’’ — muted at first, then passionately vaulting — drew roars of approval from the audience."
-The Boston Globe
"As the smitten Freddy Eynsford-Hill, Jared Troilo is sweet and has the vocal chops to bring out the beauty and longing of "On the Street Where You Live""
"One of the most powerful voices in the show belongs to Jared Troilo as Freddy. His phenomenal tenor voice soars off the charts in "On the Street Where You Live" and his acting as this spoiled rich kid is right on the money, too."
"As Prince Eric, Troilo — who has been consistently impressive in roles as various as foppish Freddy in Lyric Stage Company of Boston’s “My Fair Lady’’ and the closeted gay husband in SpeakEasy Stage Company’s “Far From Heaven’’ — once again delivers the goods. The trap of blandness always awaits a Disney hero, especially those of the royal variety, but Troilo deftly sidesteps it. He gives Prince Eric a pulse and a personality and even some intriguing hints of insecurity to go along with the dashing qualities."
-The Boston Globe
"Jared Troilo is excellent as Frank Whitaker, Cathy’s closeted gay husband. Troilo skillfully communicates the combination of anguish Frank feels (as he gauges the impact on his family) and the sense of release the character experiences when he embraces his sexuality.
-The Boston Globe
"Troilo is brilliant as Frank, whom he portrays as a frustrated, well-meaning guy who does the best to play the part of the doting husband despite his raging desire to be himself."
-Cape Code Times
"Sending his beloved little Sara away is not a decision Captain Crewe (Jared Troilo) would ordinarily have made. When matinee idol handsome Troilo, in a sturdy performance, sings "Home By Christmas" we empathize with his dilemma."
-Edge Media Network
"Troilo captured a delightful splash of neurosis as the conflicted Stine. A fraud in quite a few respects, he struggled to maintain dignity in spite of Fidler’s pressure to commercialize his beloved Stone. In nearly every scene, Troilo shined with an endearingly believable vulnerability."
"Troilo, as the fictional Stone, is also outstanding, and his duet with his creator, “You’re Nothing Without Me,” is a great showcase for both Troilo and Carlson."
-The Boston Globe