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has just ended a twelve week season at the Roundabout Company's Laura
Pels Theatre of his one man show,
The creative team was,
Richard Maltby (Director)
Mark York (Pianist and co-arranger),
Aaron Gandy (Music direction by co-arranger),
is just one of over thirty rave reviews for Jim's show
New York theatre critic, 5th. June 2014
a relief to come to the marvelous “Just Jim Dale,” as good a solo show as
you will ever see,
and which I cannot commend and recommend highly enough.
Jim Dale may just be the most charming farceur to tread the boards,
while also triumphing on both the big and little screen and in music,
to say nothing of his brilliant recorded readings of the seven Harry Potter
in which he manages a different, equally splendid voice for all two hundred plus
But let’s get back to charm.
This usually comes with high comedy a la Noel Coward or Cary Grant, or, more
Gallicly and bedroomily, by Charles Boyer.
It almost never comes with unabashedly low or middle-range farce, dazzlingly
elevated to the heights attained by Jim Dale,
as he holds you in his palms, his feet, his whole body for two uninterrupted
leaving you wallowing in laughter but perfectly game for any number of hours
accompanied by Mark York on the piano—and a bit beyond—Dale sings and
clowns, dances and jests with delicious patter,
and moves with an anthology of comic walks, gestures, and even the odd pratfall,
right onto your funny bone and into your heart.
And when I say funny bone, I don’t mean merely that spot on your elbow,
but every bone and muscle making you shake with laughter to make the rafters
show is essentially Dale’s telling and reenacting of his life and stage story,
and how a boy from a working-class suburb of London,
with working-class parents and very briefly himself a shoe factory hand, worked
himself up through hard training to the summits of showbiz,
to Britain’s beloved Music Hall and beyond it to stellar performing in every
possible country and medium,
including Shakespeare and Molière, displaying matchless movement (as suggested
by his father), terrific timing (ditto)
and those oodles and oodles of charm which only inborn talent and hard work
lightly worn can attain.
Maltby, Jr. has contributed skilled direction, and Anna Louizos a handsome
but mostly it’s the genius of just Jim Dale or Smith. Yes Smith, as he was
born, but, by a printer’s error he adopted,
Dale, has “forged in the smithy of his soul” (phrase by James Joyce) not
just “the conscience of his race” (Joyce again),
but also the conquest and conveying of the summits of comedy.
is impossible to impart all this through mere printed words; you must catch
“Just Jim Dale” and experience it firsthand.
What you see and hear will stay with you as a touchstone for as long as you are
capable of joyous remembrance.
year Jim was nominated for his seventh Drama Desk Award
for his appearance in the Roundabout Theatre
"The Road to
Rosemary Harris and Carla Gugino
Directed by Gordon Edelstein
"Dale almost steals the show -
if it wasn't for Rosemary Harris up there too,
he'd sneak home with the play."
Mark Kennedy AP
also a great treasure of the theater, is deceivingly brilliant as Marius."
last musical on Broadway was
Bertolt Brecht and Kurt Weill's,
For his performance as Mister
he was honored with a
Drama Desk Award
Outer Critics Circle Award
Richard Seff Award
Drama League Award
Tony Award Nomination
The American Theatre Critics
recently inducted Jim into the
American Theatre Hall of
Lifetime Achievement in the Theatre
written by John Stevens
"The Emerald Atlas"
written by John
written by Erin Morgenstern
"Peter and the
with the Seattle Symphony Orchestra
Written by Lauren Oliver
written by Eudora
with the Seattle Symphony Orchestra
on Audiobook Reviews below
on Awards Potted Reviews
Jim's Biography Audiobook