"BEST Show of the Fringe -Encore!" by Andy McQuade:

Charlie Bethel has more talent and likeability combined than any performer I've EVER seen, which makes the whole job of relating to the text in hand so much easier. If I had a single reservation it would be that the tale of Tom Thumb is not one I'd have chosen to watch myself; the only reason I went was because I was grabbed by the collar by a deranged director who commanded, "Go see Charlie Bethel—your future depends on it!" But herein lies the gift that the rarest of artists possess -to make an apparently slight tale into something so magical, so vast and timeless that you'll never forget it. His physical work left me gasping for breath and in awe. I've worked and sweated in this area myself and watching a master at work made me realize just how far I had to go -and it excited and inspired. Oh, ok, I was jealous as **** as well. Under the forensic, yet open-to-improvisation direction by Anthony Paul, Bethel —not the largest physical type—filled and dominated the large stage at the Ritz Theatre until it seemed as if twenty actors were crammed onto it. Comedy, pathos, genius asides and a closing monologue that -for the first time in five years brought me jumping to my feet with the rest of the audience for a much-deserved standing ovation. This is theatre at it's highest level possible and proof of the extreme importance of fringe. Just as, many years before when I saw an obscure monodrama called 'Angels of the Universe' that tore me to pieces, Tom Thumb and Charlie Bethel will stay with me forever and come to define my whole incredible stay in this fantastic city.


"Size does matter..." by Paula Nancarrow:
Is there any stage big enough to share with Charlie Bethel? I think not. He is large; he contains multitudes. I have not seen such rapt narrative physicality - such perfect absorption in characters and plot - since watching my children at play. Charlie has somehow managed to grow up and still do this - and even better, to bring you along, into the world of farce - lewd, bombastic, and full of the life-affirming energy that comes from mocking hypocrisy and pretense. Even product placement in such a world is a signal that the actor has no desire to manipulate his audience, but would rather invite them to share in the joke. Because in the end, whether you're run through by a sword or swallowed by a red cow, dead, my dears, is dead.


"DRUM ROLL PLEASE!" by Nick n Rosie Heille:
Welcome to the FIVE STAR world of Tom Thumb. Where fiction is truth, facts imagined. A solo thespian high wire act done without a net. A show of energy, humor, and mayhem. It starts with a drum roll and moves to the introduction of King Arthur, his inebriated Queen, Mr Potato aka Tom Thumb along with other members of the Kings court. It is a play of courtly trickery, sword fights that leave the stage strewn with the wounded and dead bodies. Fact and fiction spin like a top. A MUST SEE!


"He's my little potato!" by Patrick Pfundstein:
. . . The show is brilliantly staged and directed with multiple sword fights, cannon fire, and choreographed dance in a style that is pure Chopping Block (Theatre). Meanwhile, Charlie Bethel pours heart and soul vividly into several characters; often at the same time (remember, multiple sword fights, one actor). Along with the tragedy, betrayal, humor, and gusto of this old tale brought newly to life comes a message delivered with some subtlety (you might even miss it in the mooing of a cow). This is a true theatrical tour de force!!!


"Storytelling at its best" by Mike Lewis:
You know, Charlie Bethel could probably only give me directions to the theater, and I would hang on his every word - he's that good. I've seen his past shows, but this one is different; he's not just a storyteller, but an actor acting out several parts non-stop and incorporating props and lighting, and it is extraordinary. . .


"A swordfight with self" by Kay Kirscht:
I truly enjoyed this show; it fits in beautifully with 19th century 12th Night romps and pantomimes (where anybody and everybody shows up from folk and fairy tales and has a blast). Kinda like the bizarre, truncated and battle-filled scripts produced for toy theaters in England. Will never look at a potato the same way again. At one point he presents an all out SOLO swordfight - with long AND short blade, as both hero and foe...and does a darn engaging job of it. (And why the hell am I surprised that you carry this particular act off so well?) Yeah, I love Charlie Bethel, too. With all the silly stuff, fiery sweat and action - please don't miss what our tiny protagonist has to say - throughout the show, and what is said about him at its end.


"Terrific!" by Tim Voss:
Charlie has outdone himself. This is an outstanding performance. I'd give him six stars if I could. Do not miss!


"Bethel Relay Race" by Katie Kaufmann:
There is nothing I like better than to see a performer sweat. Not because he's nervous, but because he is so committed, so energetic, and working so damn hard. Charlie was soaked by the end of this forty-five minute, character swapping relay race. His energy, vocal dynamics and outstanding physicality brought such life and humor to this story. Bravo!


"Pint Sized Beowulf" by Matt Sciple:
If you've seen any of Charlie's shows, I don't have to tell you how amazing he is. If you haven't, you owe it to yourself to see. He tells this story with the same mixture of gravity, wit and epic silliness that marked his takes on Gilgamesh and Beowulf, except this time, his hero is 4 inches tall. And played by...well, you just have to see it.


"Charlie Bethel is a rock star!" by Richard Jackson:
There's little more that needs be said. He's a master of voices, physicality and storytelling. I loved it!


"A complete performance." by Neil Fennell:
Charlie presents a fast-paced, tightly directed, thoroughly realized piece of smashing theatre in Tom Thumb. I have a great respect for a player/writer who refuses to dumb down his text for anyone, yet holds the audience completely captivated. Charlie performs the entire show in often-rhyming verse which would turn to mush in most actors' mouths. Layer on top of this his exquisite devotion to each particular character (I think I counted ten) and you have a challenge to frighten off most performers... yet Bethel does it willingly (co-writing for himself) and flawlessly. Even at its most frenetic, the mostly-full house at the Ritz caught each nuance and phrase. Though the "Exeunt's" and "Enter's" help us remember who is in the scene, no one in the audience would need a re-introduction to any of his characters after you've seen them the first time, they are so well-drawn. Kudos to the tight direction and the just-enough technical direction that gave this show that extra pizazz. Following the show I heard that Mr. Bethel is moving away from Minnesota after the festival. Go see Tom Thumb so you can realize what our city will miss greatly after he's gone.


"I was dazzled" by BN DR:
This was a fast-paced show full of mayhem and eight million different characters. It was at times bawdy, which I was not expecting (I expected a kid-friendly show - this was not). Having so many characters was a drawback, but then again, where else will you see a grown man make out with a potato?