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"Nick Duckart is as suave and
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HEADSHOTS
PRODUCTION PHOTOS
MISCELLANEOUS
VIDEOS
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PRESS
"I can’t imagine a musical we need more right now than Come From Away. In a time rife with division and tragedies that regularly leave people wrestling with grief, loss, and the capacity for human cruelty, Come From Away is a show about the innate goodness of humanity. Its ensemble structure helps express a message of togetherness and kindness rather than one of individual achievement and exceptionalism. The selflessness demonstrated by the people of Gander — and the warm temporary community built by the townspeople and the stranded passengers — will leave a lump in your throat."-Maureen Lee Lenker, Entertainment Weekly
"For the millennials and Gen Z'ers of the world, Nick Duckarts portrayal of Kevin J. is one for the ages and brilliantly performs the anxiety of being a gay man stuck in this situation."- Armando Urdiales, BroadwayWorld.Com
Nick Duckart is poignant as King Arthur. He has a mastery of the stage and a presence that commands your attention. Duckart's ability to allow the audience to see his power and his vulnerability at the same time is a true credit and a skill that is often underestimated. King Arthur, like most characters is multi-faceted, Duckart allows for the full depth of Arthur's character to come forth which makes his choices on stage relatable to those in the audience. His vocal command can not be understated. He has a strong yet soothing voice that creates an overall ambience and temperament that is pivotal in the telling of the story.-Jacob Ruscoe, BroadwayWorld.Com
"Nick Duckart on the other hand is as suave and liquid-voiced as they come, and as Juan Perón, he is marvelous. His character tramples everyone around him to become president and who has a kind of Lady Macbeth partner in Eva. But there are some nuances and even tender moments in this man’s portrayal. He is brought up short and is transfixed, when he first meets Eva, where she seems so forward and unapologetic about her vision for him (which includes her.) Towards the end of her short run in power (she dies of cancer seven years into their “reign”) he sings of the light going out in her eyes and walks over to where she is sitting literally holding herself from screaming in pain. These two don’t know how to be soft, but his awkwardness standing beside her, touching her, is moving, and you can see his longing and his helplessness."- Susan Galbraith, DCTheatreScene.com
"But to make any EVITA work, you need three keys to success. First, you need a gullible yet powerful Juan Peron who falls for Evita and appreciates her for what she gives to his regime. Nick Duckart fits the bill. His stature, presentation, and voice is exactly what the role requires and he deliverers."- Charles Shubow, BroadwayWorld.com
"Last but not least is this cast. Start with home-grown Duckart who has been shuttling between New York and Miami for several years now. The actor and his character’s open -hearted persona is the glue that holds this ensemble show together. We’ve known he was a terrific singer since Doctor Radio at FloridaStage and a fine musical actor in many Actors’ Playhouse productions, but here he has found the defining role of his career to date. His eyes pour out that joy, that pride, that compassion for his neighbors, the pain at losses and above all, a yearning for something just out of reach. Since Usnavi is not a good dancer, you have to love the slight goofiness that Duckart injects in Usnavi’s dance steps."- Bill Hirschman, FloridaTheatreOnStage.Com
"That Duckart is talented is something SoFla theater audiences have known for a while. He's always around, here and there, doing a decent job in dramatic roles. This role, I predict, is going to make him the go-to guy for smart, physical comedy for every theater in the three counties. His dancing is spicy, and even in the play's tuneless moments, his body seems to vibrate to some manic music only he can hear. And his Garcia is so breathlessly in love with Penny McAdams that he cannot so much as share a room with her without striking every romantic pose he can call to mind in the hopes of ravishing her with his sensual exoticism. Yes, his character is nothing new — just a mashup of racial stereotypes and old jokes. But that doesn't mean you can take your eyes off him. It's the singer, after all — not the song. Nick Duckart takes his three chords and sings the shit out of 'em."- Brandon K. Thorp, Miami New Times
"That Duckart is talented is something SoFla theater audiences have known for a while. He's always around, here and there, doing a decent job in dramatic roles. This role, I predict, is going to make him the go-to guy for smart, physical comedy for every theater in the three counties. His dancing is spicy, and even in the play's tuneless moments, his body seems to vibrate to some manic music only he can hear. And his Garcia is so breathlessly in love with Penny McAdams that he cannot so much as share a room with her without striking every romantic pose he can call to mind in the hopes of ravishing her with his sensual exoticism. Yes, his character is nothing new — just a mashup of racial stereotypes and old jokes. But that doesn't mean you can take your eyes off him. It's the singer, after all — not the song. Nick Duckart takes his three chords and sings the shit out of 'em."- Brandon K. Thorp, Miami New Times
" Duckart turns in a bravura performance"- Kevin D. Thompson, The Palm Beach Post
"Nick Duckart as Czolgosz who shot William McKinley, embodies the outrage of the blue-collar worker at the system’s inequity. Singing in the basement of his register, Duckart brings the intensity of a barely controlled explosive. Thanks to Weidman, Duckart delivers the most relatable motivations to the piece. Duckart also believably plays a tender scene in which the troubled young man expresses his adoration to the revolutionary speaker Emma Goldman."- Bill Hirschman, FloridaTheatreOnStage.Com
"Dark and utterly compelling, there's not a wasted moment in Masked. Duckart as Na'im the rebel has the rare talent to disappear into his character. He is not a Duckart you've ever seen before. No handsome leading man, no flashing smile but a fighting man."- MiamiArtzine.com
"Duckart returns from"A View from the Bridge." His so very un-self-aware Thomas proves the brittle anvil for the hammer stroke of Vanda's lash of love. Look for the petty anger (played as sexist snobbery and clueless confusion) to manifest as white-hot erotic passion."-Chris Silk, BroadwayWorld.com