Sultry City Night Is Transformed Into an Enchanted Bali Ha'i
by Ben Brantley, The New York Times. “...As for Mr. Mitchell, his place in the pantheon of romantic musical leads is now guaranteed. Read the review
A Tuneful Seven Ages of Man, From Gawky Boy to His Father
By Stephen Holden New York Times. The voice that rumbles out of him like thunder underlined by drumrolls is a fierce, commanding baritone; unleashed full force, it is
explosive. If you thought "The Impossible Dream" was a piece of kitsch, Mr. Mitchell's thrilling interpretation will make you think again; that's the kind of integrity a great
singer can confer on a song often corrupted into something squishy and false... Read the review.
Flashing back to the 1940’s
Where to begin an account of Sunday night's Kennedy Center "Salute to the 1940s Broadway Musical" -- with Brian Stokes Mitchell's powerhouse rendition of
"Soliloquy" from "Carousel"? Read the review
A Theatrical Chameleon With a King-Size Voice,
By Stephen Holden New York Times. “His vocal command is such that when he determines to right unrightable wrongs and beat unbeatable foes, you
wonder for a moment if the impossible might actually be within his grasp.
And so it is in his cabaret debut, "Love/Life." The lesson he teaches is that you can blow the roof off if the size of
your voice is matched by the range and depth of your feeling.” ... Read the entire review
Meet a different Stokes Mitchell
by Frank Scheck, New York Post: “Genuine musical leading men are rare--and Broadway productions worth their talents are even rarer... Read the review.
Variety: Concert Review
Robert L. Daniels: “His voice is a richly tailored, warm and resonant instrument, capable of caressing the kind of melody that has staying power. Mitchell’s hour is
enhanced by his ruddy good looks and assured stage presence. Read the review.
Brian Stokes Mitchell Is Ready for His Close-Up by Robert Simonson, New York Sun. “Brian Stokes Mitchell has a way of filling a vacuum. At a time when the
Broadway musical theater is hurting for strapping, John Raitt-type leading men, he has anchored such productions as "Ragtime," "Kiss Me, Kate" and "Man of La
Mancha." Now, when cafe society is flush with chanteuses but lacks contemporary Billy Eckstines or Mel Tormes, he is making his cabaret debut. He'll take his
bow at Feinstein's at the Regency starting tonight.” Read the interview...
Brian Stokes Mitchell, by Jacques Le Sourd, Journal News: “The nice thing about performing in a cabaret setting is that it's an opportunity for an audience to get
to know who I am and to feel my personality, not filtered through a character or a show or a costume or an orchestra or somebody else's music or book. It's basically
pure me, singing the songs I choose to sing that night.” Read the interview...
Broadway.com: Photos--Brian Stokes Mitchell's Early Valentine to Fans
Brian Stokes Mitchell stars in Man of La Mancha currently playing on Broadway with Mary Elizabeth Mastrantonio and Ernie Sabella at the Martin Beck Theater.
Stokes starred in the title role of August Wilson’s King Hedley II.
Stokes won a Tony award for his starring performance in in a revival of Cole Porter's musical Kiss Me Kate! in it’s first Broadway
Stokes was one of People Magazine’s 50 most beautiful people.
Before this, Mitchell starred as "Coalhouse Walker" in the new Livent production of RAGTIME, on Broadway, based on the book by E. L. Doctorow.
Stokes is no stranger to the
theater. Since his Broadway debut in the critically acclaimed musical MAIL, which also earned him a Theater World Award for outstanding Broadway debut, he has gone on to replace Gregory
Hines in JELLY'S LAST JAM, and starred in the Tony Award winning musical, KISS OF THE SPIDER WOMAN, and OH, KAY!
While performing in KISS OF THE SPIDER WOMAN, Stokes was asked to participate in the fundraising album, Cabaret Noel: A Broadway Cares Christmas, to benefit
the charity, Broadway Cares/Equity Fights AIDS (BCEFA). The song, "A Crazy Christmas List" marked Stokes' first performance on a publicly sold CD.
In 1994 Stokes co-starred with Melba Moore in a concert production of Duke Ellington's QUEENIE PIE at the Brooklyn Academy of Music with the Duke Ellington
Orchestra. He recently recorded the score of QUEENIE PIE with Cleo Lane and Roberta Flack.
The youngest of four children, Stokes was born on Halloween in Seattle, Washington. Since his father was a civilian electronics engineer working for the Navy, his
family traveled throughout the Far East, living for several years in the Philippines and Guam. At age 14, Mitchell's family moved to San Diego where he began appearing in
plays in high school. He began his studies at the San Diego Jr. Theater and performed at the San Diego Civic Light Opera and the Old Globe Theater. It was the Twelfth Night Repertory Company, an Emmy-Award
winning, multicultural improvisational group, which brought Stokes to Los Angeles in 1977.
Stokes, an accomplished musician, composer, conductor and producer, spends his free time in his recording studio creating scores for other shows as he works on his first
solo album. More information regarding his musical career can be obtained by visiting the "Recording" section of this web site.
Stokes' television career took off with a plum role on the critically acclaimed series, "Roots: The Next Generations". His additional television credits include recurring roles
on the medical drama, "Trapper John, MD", and NBC's hit comedy, "The Fresh Prince of Bel Air".
Stokes currently divides his time between New York and Los Angeles with his wife, actress Allyson Tucker.