The 39 Steps

...those bad guys... along with a parade of policemen, farmers, hotel keepers, train travelers, maids, milkmen and a central villain or two — are played with aplomb and unflagging energy by... Paul Melendy... the loose-limbed Melendy spares not an ounce of Python-esque zaniness, chewing scenery with contagious gusto — particularly as the villain of the piece, whom he imbues with an over-the-top Bond-villain magnetism in the second act.
— Peter Chianca, Wicked Local Gloucester, "THEATER REVIEW: Hitchcock turns hilarious in Gloucester’s manic ’39 Steps’"
Paul Melendy enters mustache-askew and proceeds to swivel his hips almost out of their sockets and into a variety of uproarious turns.
I would be remiss if I failed to give special notice to the mind-blowing physical and vocal skills of Paul Melendy. There is no Walt Disney cartoon character or SNL cast member who can prepare you for the astonishing, barely human shrieks and sneers that issue from this actor’s mouth. When midway into the show he appears as Professor Jordan, the energy of the production, already high, goes through the roof.
The plot takes second place to the cast’s wild wackiness, especially Melendy... portraying clowns... and other cameo roles.
— Sheila Barth, Beacon Hill Times, "Theater Review : Gloucester Stage Company’s Farcical ‘The 39 Steps’ Closes Its Sold-Out, Three-Week Run"


The not-so-secret weapon of this production is Paul Melendy, who swipes a number of scenes with his vastly entertaining portrayal of Cyrano’s aristocratic foe, Count DeGuiche. Melendy’s DeGuiche is a fop’s fop, a preening popinjay who discourses with a languidly exaggerated enunciation, as if the character is so bored with the puny carnival of existence he can scarcely be bothered to get the words out.
— Don Aucoin, The Boston Globe, "A 'Cyrano' with Panache at Gloucester Stage"
Paul Melendy gives a broad performance and provides much of the comic relief in four diverse roles.
— Nancy Grossman, Broadway World, "BWW Review: Gloucester Stage Presents N.E. Premiere of CYRANO"
The crowd pleaser in the cast is Paul Melendy, whose self-possessed Count DeGuiche is broad yet enjoyable.
— David Greenham, The Arts Fuse, "Theater Review: “Cyrano” — A Classic, Well Refreshed"’s a treat to watch Melendy portray DeGuiche with effete, foppish delight.
— Mark Sardella, Wakefield Daily Item, "A fast-paced ‘Cyrano’ at Gloucester Stage"

Noir Hamlet

The very funny Paul Melendy makes great use of the fourth wall as Little H. He is a master of the rapid fire 1930s delivery...
— Michael Hoban, The Theater Mirror, "A Dark and Humorous Noir Hamlet"

Toward Zero

Melendy is terrific as Neville, who is described as the perfect man: athletic, charming, wealthy and well-educated. There’s an arrogance to Neville that Melendy captures perfectly. The way he condescendingly talks down to Kay makes him detestable, but later when he defends Audrey when she becomes a suspect, he seems honorable. Melendy manages to successfully muddle our feelings toward the character.
— Alec Kerr, Conway Daily Sun, "'Toward Zero' a Cracking Murder Mystery

My Three Angels

Melendy creates an amusingly spineless character prone to bursts of high-pitched hysteria and bouts of whimpering whining.
— Alec Kerr, Conway Daily Sun, "'My Three Angels' Is Effortlessly Charming"

Bank Job

The ever-nimble Melendy... turn[s] in a comic gem of a performance as the all-but-clueless Russell. Attired in a blue Superman T-shirt and high-top sneakers, Melendy’s Russell exudes an aura of childlike, wide-eyed innocence even amid the character’s obvious guilt.
— Don Aucoin, The Boston Globe, "A Bank Job and a Play Go Wrong at Gloucester Stage"

Regular Singing

Paul Melendy has given a series of heartfelt performances as Tim Andrews, Jane Apple’s boyfriend, a sometimes actor who like many actors is a waiter first, still hoping for that career that will probably never be.

The Last Schwartz

Simon is a challenging character to portray realistically and respectfully. Paul Melendy gives a triumphant performance... Melendy gets at both aspects of Simon — his ‘free’ inner self and his inhibited social side. His real-world Simon is astoundingly well researched and convincing. The actor admirably captures the physicality of someone who is uncomfortable in the space he inhabits, who simply does not desire to belong.
— Jess Viator, ArtsFuse, "Fuse Theater Review: 'The Last Schwartz' — Family Matters"
35-year-old Simon, an eccentric astronomer who is losing his sight and spends much of the play gazing through a telescope... portrayed by the always-inventive Paul Melendy.
— Don Aucoin, The Boston Globe, "In Gloucester Stage’s ‘The Last Schwartz,’ a fraying of family ties"
Paul Melendy gives a humorous yet oddly poignant turn as this symbolic purveyor of mankind’s smallness in the universe if not in the bosom of his family. And he commandeers the play’s near-magical end, suggesting both Neil Armstrong and the moribund butler left behind in “The Cherry Orchard.”
— Carolyn Clay, The Artery, "'The Last Schwartz' Is A Darkly Comic Look At Family And Religion"
Beatrice and Melendy draw the most sympathetic characters in roles at opposite ends of the spectrum... Melendy brings sweetness, dignity, and humor to Simon, who is probably autistic, even though ‘he’s never been diagnosed.’ ...Melendy makes sure that Simon is not an afterthought for the audience.
— Nancy Grossman, Broadway World, "BWW Review: THE LAST SCHWARTZ in New England Premiere at Gloucester Stage"
Paul Melendy evokes a more comic version of Dustin Hoffman’s Rain Man as Simon...
— Mike Hoban, Events Insider, "Gloucester Stage Delivers Hilariously Dark Comedy with 'The Last Schwartz' (4.5 Stars)"
Paul Melendy’s Simon, an astronomer who is going blind, gives the play meaning.
— Jack Butterworth, Item Live, "'The Last Schwartz' Will Make You Laugh and Cry"
Paul Melendy uses an expressive face and fine body language to create the seriously mentally challenged brother Simon.
— Sally Applegate, Wicked Local, "REVIEW: 'Last Schwartz' a howl at Gloucester Stage"

A Confederacy of Dunces

The supporting cast of A CONFEDERACY OF DUNCES is also uniformly excellent. Paul Melendy is a mass of kind-hearted befuddlement as the inept Patrolman Mancuso.
— Jan Nargi, Broadway World, "BWW Review: A CONFEDERACY OF DUNCES Weighs in at Boston's Huntington Theatre"
Paul Melendy’s Patrolman Mancuso, whether working undercover as a “bearded circus boy” or a nun in green socks, seems to embody not the hangdog cop of the novel but the upbeat outlook more characteristic of the theater piece.
— Carolyn Clay, The ARTery, "A 'Confederacy' of Laughter at the Huntington"
... the production is perfectly cast. Local favorite Paul Melendy as bumbling Patrolman Mancuso finds enough humanity in these people to make you hope they all find what they’re looking for.
— Nick Dussault, The Metro, "Nick Offerman brings 'Dunces' to Life at Huntington Theatre"
I especially enjoyed... Paul Melendy as befuddled Patrolman Mancuso.
— Joyce Kulhawik, Joyce's Choices, "THEATER: A Confederacy of Dunces"
Officer Mancuso [is]... deftly played by Paul Melendy... Melendy’s Mancuso is one of many artfully crafted portrayals of the denizens of New Orleans who revolve in orbit around Ignatius...

A Midsummer Night's Dream

The highlight of the very broad presentation of “Pyramus and Thisbe” was Paul Melendy’s flouncing Thisbe.
— Jeffrey Gantz, The Boston Globe, "Commonwealth and Landmarks Share 'Dream' at Espalanade"
Yet it was Paul Melendy as Flute who threatened to steal the show in the eleventh hour, giving an outrageous performance as Thisbe to rival some of Terry Jones’ wildest drag acts as a member of Monty Python’s Flying Circus. Melendy camped, strutted and sang his way across the stage with abandon.
— Kate Stringer, The Boston Musical Intelligencer, "'A Most Rare Vision' in Esplanade Dream"

Sweet and Sad

Each actor here has found great depth and richness in Nelson’s dialogue... At one point, Jane’s boyfriend, Tim (a very fine Paul Melendy), shares a story about once feeling the unsettling touch of an apparition.
— Jeremy D. Goodwin, The Boston Globe, "In Gloucester's 'Sweet and Sad,' the mourning after"
Paul Melendy brings an animated persona to the role of Tim, telling the family funny stories, and being defensive about his part-time work as a waiter at a bar.
— Sally Applegate, The Saugus Advertiser, "REVIEW: A 'Sweet and Sad' family dinner at Gloucester Stage"

Hair of the Dog

It is slightly challenging to judge the merits of the play in toto as the play is completely focused on the character of the charming and zombified Marlowe, played by the inimitable Paul Melendy. Paul is a playwright’s dream... his comic instincts are so sharp that he immediately gets at and highlights all of the many many comic moments written in this incredibly dense and witty script.
— Brooks Reeves, The Boston Theatre Marathon Review, "Hair of the Dog by Constance Congdon - A Review"

That Hopey Changey Thing

Director Symes has put together a winning ticket of actors... As outsider Tim, Paul Melendy is deferential but holds his own.
— Carolyn Clay, The ARTerty, "Stoneham Theatre And Gloucester Stage Company Host The Apple Family"
Tim, played with an apt eagerness to please by Paul Melendy, is an aspiring actor who seems younger than Jane. He’s enthralled by the idea that Benjamin embodies “every actor’s dream” — to forget.

“Great acting is simply willed amnesia,” Tim offers.

There is plenty of sturdy acting in this nuanced, mostly low-key production...
— James Sullivan, The Boston Globe, "Where hoping is easy, and change is hard"

Ryan Landry's Jesus Christ, It's Christmas!

"In Gold Dust Orphans’ holiday sendup, Melendy has it covered", by Joel Brown of the Boston Globe

The tension mounts as Bishop Henry (an insanely square Paul V. Melendy (Check out Melendy’s hilarious nude TV commercial for Bernie & Phyl’s) who must build a cathedral for his congregation...Paul Melendy in the earnest leading straight man role (channeling Jimmy Stewart, or David Niven here) embodies the balance perfectly. He actually almost made me cry in the middle of this outrageous material.
— Joyce Kulhawik, Joyce's Choices, "THEATER: JESUS CHRIST, IT’S CHRISTMAS!"
In Gold Dust terms, everything turns out right when the talent onstage includes... a crackerjack straight (and straight) man like Melendy...
— Nancy Grossman, Broadway World, "BWW Reviews: JESUS CHRIST, IT'S CHRISTMAS!"

Ryan Landry's Snow White and the Seven Bottoms

The nimble Melendy again seizes the opportunity to showcase his exceptional comic gifts: His Prince Charming is hilariously self-absorbed, a fop’s fop.
— Don Aucoin, The Boston Globe,"Landry's 'Snow White' is plenty animated"
Paul V. Melendy is exceptionally funny and well-sung as the pantalooned Prince Charming who may be panting after the wrong partner.
— Joyce Kulhawik, Joyce's Choices, "Theater: As You Like It/Where the Mountain Meets the Moon/Snow White & the Seven Bottoms/Sila
As the prince, Melendy has an assured comic prescence. When he lifts his leg in an unassuming, but queeny gesture, he all but stops the show; and his droll delivery is priceless.
— Robert Nesti, EDGE Boston, "Snow White and the Seven Bottoms"
Melendy captures the Prince’s vanity and dimwittedness with a lot of tongue-in-cheek and a lot of cheeky behavior but he also gets to show his singing and dancing chops.
— Nancy Grossman, Broadway World, "Boston Theater Top to Bottom"
Paul Melendy, who nearly stole the Orphans’ holiday entry, ‘It’s a Horrible Life,’ with his spot-on Jimmy Stewart impersonation, plays Prince Charming as a dashing and delightfully egocentric prig, so that it’s easy to see why he’s more attracted to The Magic Mirror than Snow White.
— Terry Byrne, Fuse Theater Review,"'Snow White and the Seven Bottoms' - Smart, Stylish, Slick and Hilarious"

Ryan Landry's It's a Horrible Life

Melendy delivers a performance as George Bailey that is a small gem of comic virtuosity. He drawls and stammers and channels James Stewart’s aw-shucks persona to perfection.
— Don Aucoin, The Boston Globe, "'It's a Horrible Life' a Holly, Jolly Sendup"
Paul Melendy ... is more noteworthy for his rendering of Jimmy Stewart’s distinctive drawl and his natural, winning portrayal of George Bailey
— Nancy Grossman, Broadway World Reviews, "'It's a Horrible Life' (Adults Only!)"
Paul Melendy’s impressive turn as George Bailey is the glue that holds this merriment together.
— Nick Dussault, Metro,"Every Time a Bell Rings, an Angel Hits the Stripper Pole"

The Boston Globe "Rise" Column

A blend of Anthony Perkins, Jon Hamm, and James Stewart...
— Don Aucoin, The Boston Globe, "For Paul Melendy, acting is a far-from-horrible life"

The Fakus: A Noir

The actors, too, are fun to watch. Melendy, as the young, slick Leland, has the hardest part; in retrospect, Leland’s actions don’t add up, but Melendy makes them seem to.
— Jeffrey Gantz, The Boston Globe, "Pros and cons in Centatstage's 'The Fakus'"
Paul Melendy’s entertaining swagger is surpassed only by his gymnastics as the ‘better menswear’ mogul.
— Boston Arts Review, "Quick Take Review The Fake Out"
Melendy shines in this demanding role, with its rapidly-changing demeanor.
— Sheila Barth, Theater Mirror, "The Fakus: A Noir - A Review by Sheila Barth"
Paul Melendy, tall, muscular, and athletic, makes Leland properly charismatic and graceful. His hotel chair exercise routines add to Leland’s understated cockiness.
— Bay Windows, "The Long Con of the Fakus"

Jihad Jones and the Kalashnikov Babes

Playing the part of Ashraf, Paul Melendy brings plenty of complexity to his character. One feels he truly is torn between demeaning his race or raising his bank balance. In the end he chooses his art over his ethnicity, and tackles the role with a gusto that borders on maniacal.
— John Watters, The Barnstable Patriot

Take Me Out

The team’s recently acquired catcher, Jason Chenier (Paul Melendy) tries to express his feelings about the matter with magnificent inarticulateness, Melendy’s embarrassed, stumbling attempt to be cool with the whole thing emerging as one of the first act’s comic highpoints.
— Paul Kolas, Telegram & Gazette
Paul Melendy made hilarious hay out of the goofy player who wants to assure everybody he’s totally cool with his gay teammate (and was particularly fearless in that notorious shower scene).
— The Hub Review, "Grand Slam"

As You Like It

Some broad-comic sadomasochism is provided by ... Paul Melendy’s Silvius, the long-suffering swain who sees nirvana in Phebe’s “inky brows” and “bugle eyeballs.” Although he gets stripped, pummeled, and ridden like a horse on his way to bliss, Melendy’s gangly, yelping Silvius captures the pain of love better than anything else in the production.
— Carolyn Clay, The Boston Phoenix

Titus Andronicus

Notable performances include ... [Paul] Melendy in his heart-rending mute grief as the pitiful Lavinia...
— Iris Fanger, The Patriot Ledger
With all male actors, two of whom play difficult female roles that involve sex and rape, the level of professionalism and effectiveness of the acting is most memorable. Paul Melendy, playing Lavinia, carries the female role with flawless commitment and respectability. ... outstanding individual performance...
— The Harvard Crimson, "'Andronicus' Sets a Somber Tone in Garage"
The true test of cross casting is Lavinia, who is a victim of violent rape midway through the play. Could a man make those scenes effective? My concerns were heightened because I’d never seen Paul Melendy act before. If anything, Lavinia’s breakdown seemed all the more terrible being portrayed by a man. The rape scene is harrowing - more so because the victim has corded muscles and hirsute legs.
— Rambles Reviews, "Men in Titus"
Paul Melendy graces Lavinia with a lithe, willlowy aspect - this allows him to put Lavinia’s shame and pain across.
— Killian Melloy, edge Boston, "Titus Andronicus"
Paul Melendy’s dark-browed Lavinia is a as delicate as any actress might make her.
— Carolyn Clay, The Boston Phoenix, "Out on a Limb"