The Woman Who Amuses Herself

Under the skillful direction of Nathan Pease, the show amuses as an art appreciation tutorial meets history lesson. Pease cleverly introduces us to several distinct perspectives on the painting… Along with the Peruggia story, Pease uses his talented ensemble to look at art appreciation from different angles… There’s a lot to enjoy about this wonderful art lesson. — Katy Walsh, The Fourth Walsh

Under strong direction from Nathan Pease, the production itself became a work of art. From the projections to the score, the play was well-structured and effectively carried the audience along with the story…In a play that is almost entirely made up of monologues, director Nathan Pease led his intrepid cast through twists and turns of storytelling. — Mary-Kate Arnold, ChicagoNow

The Hound of the Baskervilles

The story is retold simply but effectively, with a fine balance between wit and suspense. Evan Jackson’s elegant, well-paced production for Idle Muse Theatre brings out the best in the material. His casting is strong—Joel Thompson and Nathan Pease in particular have considerable chemistry as Holmes and Watson — Jack Helbig, Chicago Reader

Idle Muse Theatre Company at The Edge Theater casts this sleuthing duo perfectly. The best part of this show is the chemistry between Thompson and Pease… Pease brings the humanity and the humor to this partnership. Whereas Thompson wants to solve the puzzle, a passionate Pease wants to protect Hutt. Their chemistry works. We sense these gents have history. Their genuine enjoyment of each other’s company is apparent. When Thompson barks an order, Pease often accepts the directive with a droll sidebar. He continually exits the stage with my laughter trailing behind him. — Katy Walsh, The Fourth Walsh

This new adaptation by Althos Low, married to strong performances, strikes a satisfying balance between the personal and the political… Joel Thompson and Nathan Pease as Holmes and Watson, respectively, make not only the individual roles wholly their own, but embrace the adaptation’s unique take on their relationship. Pease is a more damaged Watson than we usually see, and one who struggles openly to make his way in the world as a doctor, a former soldier, a writer, and something more than just a sidekick to Holmes. The liberties that the adapters take with the story rest on the actor’s capable shoulders and what’s been added, what’s been removed and what’s been transformed in this telling are not just believable, the story and the characters are enriched by it. — Christine Malcom, Edge Media Network

The Talking Cure

The origin story of psychoanalysis is presented with wonder and reverence in this play about the evolution of thought… Doolin also is treating a colleague scholar played by the rascally but smooth-talking Nathan Pease. While Gordon painfully confesses her perversions, Pease charmingly boasts of his sexual conquests. Especially for the puritanical time period, Pease plays it perfectly nonchalant about his babies‘ mamas. Against Doolin’s buttoned-up uptight facade, Pease is even more authentically comfortable. Director Evan Jackson finds the distinct personality of his characters through his talented cast. Gordon and Pease’s standout scenes and the startling conclusion to Act 1 builds anticipation of Act 2. — Katy Walsh, The Fourth Walsh

Dr. Jekyll and Mr. Hyde (Jeff Awards Nominated)

Under Nathan Pease’s skillful direction, the execution is unforgettably disturbing… It works perfectly… The entire ensemble is terrific… There is a real ensemble at work here. So much so, actors meld together like a nightmare where the mind plays tricks and evil changes faces but it still is the same evil, still the same nightmare. It’s indistinguishably creepy… Hatcher’s script is thought-provoking. — Katy Walsh, The Fourth Walsh

What’s remarkable in this version is that the cast includes four Hydes, dispelling the notion that morality can be split between good and evil, and suggesting that Jekyll has a nonallegorical condition like dissociative personality disorder. The invention is compelling and well executed—Hyde’s voice may mysteriously issue at any time from any actor on stage, even actors presently playing other characters. Ultimately, this bifurcation contributes to a rich if purely visual effect, as the several Hydes coalesce into a single blood-red symbol of human viciousness. — Jena Cutie, Chicago Reader

Lonesome Hollow

★★★½ ! Playwright Lee Blessing has spun a fascinating tale of political extremists… Heart-tugging! The Dyson and Pease’s unlikely pairing is compelling… Composer Matthew Nischan provides a haunting and ominous soundtrack… From lights up through the walk down Jarvis, I was enthralled with my visit to Lonesome Hollow. — Katy Walsh, Chicago Theater Beat

Sherlock Holmes: The Final Adventure (Jeff Awards Nominated)

Nathan Pease’s Watson is a delightful sidekick… a finely honed and crackling production by one of Chicago’s promising up and coming young companies and a superb cast… Splendid work all around. If you love a classic mystery, performed in a faithful and intimate manner, “Sherlock Holmes” is a foregone conclusion. — Joe Stead, Steadstyle Chicago

Pease and Hamilton have good chemistry and unleash fast-paced dialogue with ease. — Sarah Terez Rosenblum, Centerstage

…a strong performance by Nathan Pease…This is a show filled with strange twists and turns and is carried out to perfection by this sterling cast of players. — Alan Bresloff, Around The Town Chicago

The leads are all fabulous, including Luke Hamilton in the title role and Nathan Pease as his painfully loyal partner, Dr. John H. Watson. — Bob Bullen, Chicago Theatre Addict

The Lion in Winter (Jeff Awards Recommended, Chicago Stage Style’s Best Chicago Theatre in 2011)

Everything from the brilliant intimate set design by Dennis Mae to the groundbreaking performances by the ensemble, Lion in Winter is walking away with the title as one of the most prodigious and entertaining production of the summer, and we have Idle Muse to thank… a remarkable production… if you’re looking for a play with a dynamic ensemble and chilling story line, please look no further. — Tyler Tidmore, Chicago Stage Style

All Childish Things

The cast assembled by director Dennis Frymire for this Hubris Theatre production are likewise sensitive to the serious subtext underlying the deceptive frivolity, playing their roles with a committed intensity that quickly engages our emotions as it suspends our judgment. Treasure is in the eye of the beholder, after all, and well worth gambling everything to attain. — Mary Shen Barnidge, Windy City Times

There are plenty of amusing moments in Dennis Frymire’s staging, whether one adores the Lucas franchise or finds its fanboys-and-girls more than a little irritating. In particular, the prickly chemistry between nerd mastermind Dave (Nathan Pease) and nervous slow-on-the-uptake Max (Nathan Petts) feels lived-in and truthful. — Kerry Reid, Chicago Tribune

For every bit that this play is a tribute to and a celebration of nerdiness, obsession, imagination, and Tatooine, I love it. I laugh at it, and I laugh at myself, and wonder at how amazing it is that theater can get you to take yourself less seriously.
…I got totally swept up in it when they talk about the plan, mapping out in meticulous detail who does what, with floor plans, fake IDs, and contingencies. Of course, they get it all wrong, and we don’t believe for one second that it’s going to work, but that’s why it’s fun to watch. What makes this aspect of the play successful is how fully the actors embraced their dorkiness. The characters are completely unbelievable at times, and brutal to each other, but the actors have so much fun that I can’t help but love them.
— Hank Brunhoff, Splash Magazine

Richard III

The lead role of Richard III, played by Nathan Pease, was eerily convincing, right down to the physical deformity and incessant sliminess of character. The lead in this production was by far the most impressive of the entire cast, with a cackle to make your skin crawl, a smile almost as slick as his hair, and a serpentine glare intense enough to make you look away in panic. — Heather Guith, The Uncommon Sense

However, the title character casts a misshapen shadow over the others in this drama, and FCT has a fine Richard in Nathan Pease. In playing the power-crazed hunchback, Pease skillfully exhibits a range of emotions that change within seconds, depending on who he encounters (or must deceive). Richard’s snarl quickly is supplanted by a smile or, more ambiguously, a grin. Whether feigning piety or humility – as when he claims he does not deserve the crown he has killed so many to attain- Pease never forgets to remind us that, inside, this early candidate for anger management is all rage. — Ed Bradley, The Flint Journal

Comedy of Errors

Riopelle and Pease provide the most laughs with their wit and humor…Director Alison Vesely chose wisely in casting these two, who speak Shakespeare at breakneck speed with ease. — Dawn Raftery, Pioneer Press

Nathan Pease (Dromio of Syracuse) and Sean Ward (Dromio of Ephesus) handle their physically demanding roles quite well. — Donald V. Calamia, Between The Lines


The cast has done an amazing job living up to the company’s motto: “Interpret. Understand. Perform.” They made the Shakespearean wording their own, clear to understand, with just the right amount of formality, without becoming stilted or artificial. The principle characters, Don Vito Corleone (Jerome Marzullo) and Michael Corleone (Nathan Pease) sold me on their characters. Michael’s slow rise/fall into the role of new Don Corleone was a chilling cautionary tale. — Lori Davis, Chicago Stage Style

Eurydice (Chicago Theatre Addict’s TOP TEN of 2011)

The real strength of this production lies not just in the imaginative staging, but in the simplicity and lyricism of the performances. The emotional textures and conundrums woven through Ruhl’s text come through here with both urgency and delicacy.
… Bookworm Eurydice (Carolyn Faye Kramer) dies on her wedding day when a Nasty Interesting Man (a puckish Nathan Pease) tempts her with a letter from her long-dead father.
…Ritchey and her cast find many arresting moments that illustrate the pain and joy in Ruhl’s script.
— Kerry Reid, Chicago Tribune


Nathan Pease, as Bruce, was serious and completely believable with his very natural British accent and his determination to do the right thing for Christopher… The total immersion of these three in there roles was mesmerizing Thursday… “Blue/Orange” is a taut, highly verbal script performed with awesome precision by this group. — Kathleen Kirby, The Flint Journal

House of Yes

Nathan Pease brings a wide-eyed sense of disconnection to the part of Anthony. He seems also to have mastered this art of dark comedy. — Kathleen Kirby, The Flint Journal

Holiday Memories

Nathan Pease is amazingly able to portray not only this bully, appropriately named Odd, but many other characters as well. Never changing costumes, only demeanor, he believably becomes various unique male characters. — Kathleen Kirby, The Flint Journal

Arthur, King of Britain

Every medieval story has a villain and Nathan Pease was creepy perfection as the dreadful Mordred. It is up to him to bring all this peace and harmony to a halt, a task that he handled masterfully. — Kathleen Kirby, The Flint Journal


FYT resident artist Nathan Pease gives an impassioned performance as Frankenstein, whose well-intentioned quest to rid the world of death and pain only brings more of both.
He grows more monstrous as the play progresses.
— Ed Bradley, The Flint Journal

The Hobbit

Pease is lovable and prim as Bilbo. — Kathleen Kirby, The Flint Journal

Lonely Planet

Gerics and Knight are wonderfully natural and believable in these roles as directed by Nathan Pease whose staging produced several powerful moments. — Kathleen Kirby, The Flint Journal