Much Ado About Nothing with The Shakespeare Theater of NJ
The outstanding comic performance of the evening is Michael Stewart Allen’s Dogberry. From his malaprop-laden pronouncements to his reaction to events outside the “fourth wall”, he never fails to inspire laughter from the audience.  Yet he is touching in a short speech, given as a soliloquy, in which we are allowed to see the man behind the buffoon — something I do not recall seeing in prior productions of this play. -- Out in New Jersey


Constellations with Shaker Bridge Theater

​Coons’ direction brings a natural and organic feel to the frequent scene replays. His empty stage is a study in simplicity, keeping all eyes on Hutchins and Allen as they tumble and twist into new configurations during the momentary blackouts, recalling a choreographed gymnastics floor routine as they shift to new corners of the playing space for each new iteration... the actors are so skilled that these moments carry their own interest, and offer the pleasure that one finds in watching a virtuoso. -- Valley News


The Crucible with Arkansas Repertory Theater

"At the center of the story is John Proctor, played by Michael Stewart Allen. As the whole town resolves itself to madness, Allen gives a raw and resonating depiction of a man desperate for redemption for himself and his wife while his own demons hold him under much darker magic than any witch in Salem could conjure." --Soiree Magazine. 

Long Day's Journey into Nightwith Palm Beach Dramaworks

"Michael Stewart Allen is younger son Edmund, wracked with consumption (or a "summer cold" as his mother chooses to believe) and heartwrenching, especially in his latter monologue."--Talking Broadway

"As the Tyrones, Creaghan, Thompson, Allen and Anderman navigate a family dynamic awash in damnation, blame, disappointment and rare moments of aching grace." --southflorida.com

"Allen’s Edmund starts out seeming jovial and optimistic, but he is a Tyrone whose artistic soul is well-conversant with the disappointments and cold realities. As O’Neill’s stand-in, Allen’s Edmund shows us the seeds of who would become one of this nation’s greatest writers. Like the others, Allen dives so deeply into the character that you forget he’s acting."--Florida Theater Onstage


 Macbeth with Arkansas repertory Theatre


"It is Michael Stewart Allen’s Macbeth, however, who rules the stage with a grip as firm and inescapable as the king’s dark intentions. Every scorpion that plagues Macbeth’s mind is evident on Allen’s face and in his words, making each treacherous act more difficult to watch, and yet too entrancing to look away." --Soiree Magazine


"Michael Stewart Allen as Macbeth carries the play. It is telling that several of the strongest scenes involve him alone on stage." --Arkansas Times


"Allen gives an exemplary performance. He is  never less than commanding whenever he's on stage."--Arkansas Democrat Gazette



Wait Until Dark with Arkansas Repertory Theatre

"The men are in the employ of the sinister Harry Roat, who is played by Michael Stewart Allen with a gleefully over-the-top indulgence in movieland villainy: shades, handbag and strutting oratory. In Allen's hands, he's a truly frightening character. One moment he's all bellowing rage; the next, he's possessed of a feline sadism, reveling in Susy's helplessness and his own control."-- The Arkansas Times


"There is one line, however, that no one questions. The lead bad guy, played by Michael Stewart Allen, is nothing but evil. Allen’s slow, deliberate movements, his methodical speech and crooked grin sound off every one of your warning alarms, even when you’re not sure why."
--Soiree Magazine

"Michael Stewart Allen is absolutely malicious" --syncweekly

War Horse with The National Theater of Great Britain's North American Tour.  

"War Horse” contains messages about loyalty, the horrors of war and the importance of keeping promises. Yet it’s when Joey falls into the hands of a German officer that the play grows most thoughtful. Capt. Friedrich Muller (Michael Stewart Allen) makes a philosophical link between himself and Joey, who is now carting wounded soldiers instead of galloping on the front. Neither this man nor this beast was bred for the work each is being forced to do. --Detroit Free Press. 

 The Tempest with the Old Globe

When the King of Naples (Donald Carrier) and his cohorts Sebastian (Michael Stewart Allen), Antonio (Anthony Cochrane), Gonzalo (Charles Janasz) and the rest first discover themselves cast adrift in a strange place where neither God's nor man's normal laws apply, the actors make their words vibrate or hiss with the dazzling potential for good or evil. --The LA Times

King Lear with The Old Globe

Michael Stewart Allen radiates menace as the Duke of Cornwall, the cocky bantam who is married to Regan and who performs the eye-gouging on Gloucester.--San Diego Union Tribune

The Tempest with The Shakespeare Theater of NJ

The unparalleled phantasmagoria that is ''The Tempest'' is being honored with considerable intelligence and ingenuity. It is hard to believe that  Michael Stewart Allen, enshrouded in a rippling body cover as a most airy and lithe Ariel, is not a professional dancer, so choreographically eloquent are his movements.--The New York  Times.

Taming of The Shrew with The Old Globe

Best of all in a secondary role, though, was Michael Stewart Allen whose sadistic Cornwall in "Lear" was the stuff of nightmares. In "Shrew," he's the wily Tranio, a servant become so comically adept at play-acting as his master you may not want to see him unmasked at the end.--North County Times

Two Gentlemen of Verona with The Acting Company

And, of course, the comedy has its share of clowns: the two manservants - Speed, played with impressive flair by Michael Stewart Allen, and Launce (Matt Bradford Sullivan) - are quite good.  ---The New York Times