CHARLIE & THE CHOCOLATE FACTORY
(West End - Theatre Royal Drury Lane, 2013)
 
"...above all, Douglas Hodge as Willy Wonka. Kitted out in plum-coloured tailcoat, bottle-green trousers and black top hat – exactly as Dahl prescribes – Hodge has the great gift of being engaging and sinister at the same time.

Hodge flashes warm smiles at the children and even the audience when, at one point, he rises up from the orchestra pit.

He also puts across the show's best number, Pure Imagination (originally written by Newley and Bricusse for the 1971 movie), with a sincerity that conceals its paradoxical nature in a production that pre-empts our own fantasies.

Yet Hodge's Wonka, calmly watching four of the children get their just deserts – or perhaps be turned into desserts – and fiercely rounding on Grandpa Joe when accused of offering Charlie a "measly" reward, shows a dangerous edge. Less whimsical than Gene Wilder in the movie, Hodge gloriously reminds us that inside the beneficent Wonka lurks a testy authoritarian." - Michael Billington, Guardian
"Douglas Hodge seizes the role of Willy Wonka with great gusto and magnetism, and a top-hatted nod to Gene Wilder’s 1971 film portrayal; his reprisal of Pure Imagination is a spine-tingling highlight alongside a lively original score." - Arwa Haider, Metro
 
 
CYRANO DE BERGERAC
(American Airlines Theatre, 2012)
 
"This gale force has a name, Douglas Hodge, and it is inhabiting, enlivening and almost exploding the title character of Edmond Rostand’s beloved chestnut of a play from 1897..."

"...From the moment he makes his truly startling entrance (and no, I won’t tell you how), Mr. Hodge is as light and oxygenating as air, even as the pure physical impact of his performance sets you reeling..."

"...Then, suddenly, he’s here, there and everywhere. Mr. Hodge doesn’t so much take the stage as the whole theater...."

"...Composing an envoi while fighting a duel, or reciting the famed catalog of rhetorical styles for insulting his nose, Mr. Hodge’s Cyrano is a man of brilliant bombast and many voices. Confessing his love for Roxane to a poeticizing baker (Bill Buell), he looks shriveled and sounds almost preverbal. Without his armor of grandstanding eloquence and valor, he is left naked and shivering..."

"...I defy anyone not to shiver when this Cyrano, in the play’s penultimate scene, stands tall amid cannon and musket smoke, his arms raised to the heavens. “Roxane!” he yells, and his voice quakes with the ultimate masochist-hero’s agony of a love lost forever...." --- Ben Brantley, New York Times
"In the Roundabout Theatre Company's thrilling new revival of Cyrano de Bergerac (* * * * out of four), Hodge turns up as a very different character, but one possessing a similar duality. And it's a safe bet, even at this early stage, that he'll collect another Tony nod for his effort..."

"...Hodge, equally convincing as a dazzling wordsmith and a fearless fighter, a passionate (if unrequited) lover and a wounded, haunted soul, is well matched by the other principals." -- Elysa Gardner, USA Today
"Hodge gives his all to a man who is an arrogant swordsman and overcompensating braggart, but one who gets tongue-tied and mousey when it comes to actually telling Roxane how he feels. His Cyrano is cartoonish but he manages to keep him from becoming camp. It's clear that this boisterous Cyrano has been created from the ruins of a scarred and hurt man, which Hodge reveals over time..." -- Mark Kennedy, AP
"No one wants a Cyrano who's understated, and it's refreshing to see Hodge on stage flexing a variation on the drag muscle he exercised in La Cage. The impeccably trained actor knows exactly what he's serving with his salty Cyrano, presenting the poet/soldier as an outlandish, dueling, lovelorn guy who — despite his over-size facial disfiguration — wins over the audience easily with a brash charm. Hodge's participation is largely why this presentation is a pleasure to watch, especially in the quicker, better-paced second act, where his pre-death monologue becomes the show's defining moment. It feels quiet and emotional, which is odd for the otherwise madcap show." -- Tanner Stansky, Entertainment Weekly
"But for now the role belongs to Douglas Hodge and he is nothing short of masterful. Embodying all of Cyrano’s excesses — his panache, his brilliance as a poet, and his tremendous insecurity as a man blind to his own greatness. Hodge explores every inch of this iconic character right down to his soulful core..."

"...As the story goes, Cyrano becomes a surrogate wooer for Roxane’s affections, and he proves to be a most capable seducer. This production has the very same effect on its audience. By the time Cyrano makes his final entrance, the seduction is complete and we are hopelessly smitten..." -- Roma Torre, NY1
 
"Hodge, the multilayered British actor who won a Tony in 2010 as the aging drag queen in "La Cage aux Folles," makes a sweet, tender knockabout of a Cyrano...." "....Hodge goes more for a scruffy spaniel facade -- a tears-of-a-clown portrayal of the nobility behind literature's classic homely face...." -- Linda Winer, Newsday
"No matter: the centerpiece is and must be Hodge, who serves himself flambé in the title role. Hodge, as we saw in La Cage, can play a pathetically insecure extrovert like nobody’s business. His Cyrano, like his Albin, cloaks his inner fear in fantastical outer flourishes." -- Scott Brown, Vulture
"Douglas Hodge, who made such a splash as drag queen Zaza in the Broadway revival of "La Cage Aux Folles," does a truly excellent turn as the lead character. From the moment he throws open the theater doors and strides into the action in medias res, he shines, bringing with him bravado, excellent comic timing and amazing physicality." -- Winnie McCroy, EDGE Boston
BERT & DICKIE
(BBC1, Aired 25 July, 2012)
 
"Douglas Hodge brilliantly conveyed John Bushnell’s almost embarrassed desperation for Bert to succeed where he’d failed." -- James Walton, Telegraph
ONE NIGHT
(BBC1, Aired 26 March, 2012)
 
"Sweet, sad and satirical, Hodge channels the existential angst of the middle-aged age to great effect." -- Caroline Frost, Huffington Post
"Douglas Hodge is superb in this woozily gripping new drama centring around the escalating tensions between his frustrated London kitchen salesman and the children from the local sink estate that forever seem to cross him." -- Metro
"Ted's troubles are well written and Douglas Hodge is spookily beliveable as a man on the edge." -- This is Leicestershire
"Last night it was the turn of Ted, played by the excellent Douglas Hodge as a walking epitome of the squeezed middle." -- Tom Sutcliffe, The Independent
"Douglas Hodge kicked things off well, doing a tremendous job of portraying Ted, a middle-aged man stripped of confidence and fearing failure." -- This is Cornwell
"It could also have had something to do with the performances of Douglas Hodge as Ted, Saskia Reeves as his wife and Neil Stuke as his boss, who could all find some nuance and empathy..." -- Joe Crace, The Guardian
INADMISSIBLE EVIDENCE
(Donmar Warehouse, 2011)
 
"...Hodge delivers one of the performances of the year." -- Henry Hitchings, Evening Standard
"It is an extraordinary, abrasive and discomfiting experience and Douglas Hodge delivers a tour de force performance that verges on the operatic." -- Neal Norman, Express
"What redeems this evening is Douglas Hodge as Maitland. This is a character always aware of how he is repelling all comers and doing so with, not glee, but certainly dynamism. He has an arsenal of tics, twitches and self-interruptions, of exaggerated voices and operatic double-takes – the very personification of an itching scab that is never allowed to heal, and this is meant as praise. It is one of the performances of the year and the real reason to see this revival." -- Ian Shuttleworth, Financial Times
"Hodge is never off stage and he hardly ever stops talking. His magnificent performance, a tour de force, will be high on any list of nominations for best actor." -- Robert Tanitch, Mature Times
"Douglas Hodge plays the old boy with an acute sense that he is treading a gossamer-thin line between comedy and tragedy, because he is at once uproariously funny and very sad in the part. It is hard to get these boozy old intellectuals right – and to make their mid-life crises seem to matter – but Hodge... ...triumphs because he can also communicate a few redeeming features: not least, charm." -- Tim Walker, Telegraph

"In this superb lacerating staging, with an extraordinary performance from Douglas Hodge as the tormented anti-hero who lashes out at everyone around him but hurts no one more than himself, one often seems to be inhabiting someone else’s nightmare." -- Charles Spencer, Telegraph

"Douglas Hodge delivers an utterly mesmerizing performance in Jamie Lloyd's revival of John Osborne's 1964 play, Inadmissible Evidence, at the Donmar Warehouse. His physically and emotionally rich work here is an astonishing exercise in stage acting." -- Natasha Tripney, Theatermania
"...As the chaotic and splenetic solicitor Bill Maitland, Hodge is both protagonist and power generator. Were he to stop, you half suspect the lights would switch off.

Hodge’s energy is, in itself, remarkable, but he still maintains several layers with real care. His Maitland is both entertainer, chasseing across the stage and twisting case notes into punchlines, and embittered depressive. It is a complex performance that never loses sight of either humour or torment, even as the latter grows dominant for Maitland’s eventual breakdown." -- Matt Trueman, What's On Stage
"In the central role, Douglas Hodge is extraordinary. The part is more or less one long monologue and he plays it as if it was some kind of insane musical instrument, his voice rising to shrill notes or tumbling into bass growls, at once seductive and off-putting. With his amusing mimicry, his vocal flourishes, his funny voices and funnier walks, he dominates the stage, whether striding across it or collapsing into a chair at his desk. In this bravura display, Hodge engages the audience, eyeing up the women, taking the hand of someone in the front row, and literally playing to the gallery. It’s extravagant, amazing and - up to the interval - very entertaining." -- Aleks Sierz, The Arts Desk
"...there is also no denying the power of this character, a clear extension of the never particularly likable writer himself, who in Hodge’s hands is more compelling, vivid and powerful than he has probably ever been portrayed. A revelation." -- Ben Dowell, The Stage
"... it allows Douglas Hodge, in a role long associated with Nicol Williamson, to give one of the performances of the year..." -- Matt Wolfe, NY Times

LA CAGE AUX FOLLES
(Broadway, 2010)

 
"Mr. Hodge (a multifaceted veteran of the London stage), play it straight and bent, respectively, in equally disarming ways. Albin has always been a natural-born showstopper. But Mr. Hodge, who originated the part in the London revival, brings a fluttery hyperintensity to the role that recharges it.

His Albin has absorbed a host of influences, including Edith Piaf, Marilyn Monroe and, especially, the female impersonators of the British music hall. And he has combined these disparate elements into a jittery defense system that is on (and I mean on) at all times.

You don’t realize how much pain and anger have gone into this self-construction until you hear him do “I Am What I Am,” the show’s signature anthem, at the end of the first act. Mr. Hodge breathes fire here, his hitherto scratchy, campy voice growing into a white-hot blaze. It is — and who’d a thunk it? — the most electric interpretation of a song on Broadway right now." -- Ben Brantley, New York Times
"Hodge beautifully nails "I Am What I Am" – one of the great first-act curtain numbers in musical theater – as Albin transforms himself (at least for the moment) from a giddy, insecure cross-dressing entertainer into a proud and assertive gay man." -- Robert Feldberg, North Jersey.Com

"Hodge exposes the mix of rage, fear and uncertainty underneath Zaza's sequins, but that's almost expected in this type of semi-revisionist production....

...More interesting is that Hodge reveals -- and revels in -- the absolute joy Albin gets from being onstage. This feeling is spelled out early on in "A Little More Mascara," but throughout the show Hodge lets us see and hear how Albin can't not perform -- and how he can't conform to stereotypical masculinity, either....

...When Albin powers through the anthemic "I Am What I Am," he turns pride into a shield, but also a weapon. And it's an absolute thrill." -- Elisabeth Vincentelli, NY Post

"Does Mr. Fierstein make you forget Douglas Hodge, whose Tony-winning turn in this London-born revival made you forget every Albin who had preceded him? No, he doesn’t. Mr. Hodge, an adventurous British actor whose previous roles had mostly been in trousers (with the occasional classical toga thrown in), brought a surprising, ragged insecurity to Albin, an anxious aspiration to deluxe glamour that could never be entirely fulfilled.

When this version of “La Cage” (directed by Terry Johnson) opened a year ago, you were always aware of the poignant distance between how Albin saw himself as Zaza and how he truly was. It was to Mr. Hodge’s (and the show’s) advantage that Zaza’s costumes didn’t quite fit him, at least figuratively speaking." -- Ben Brantley, New York Times