Colin Wulff AEA
Accolades and Press
Hightest Honors Graduate of Oberlin College (BA, Theatre)
Recipient of Hellen Ward Memorial Prize For Theater and Dance
3X Critic's Choice Winner ITS District/State Competition
(solo musical, small group musical, large group musical)
Interview in Theater in the Now's Spotlight feature, in which he discusses both 'The Bride' and theater in general:
Interview Colin gave for Hip to Hip Theatre's 2018 Summer Season:
"At the heart of the “Much Ado” cast is Colin Wulff, whose excellent choice and execution of facial expression capture Benedick’s coy and flirtatious (yet at moments, flummoxed) manner.
Director and company co-founder Joy Marr spoke very highly of Wulff, who has progressed from playing smaller parts when he first joined the company.
“That first year he was with us, we lost like a pretty big part the week that we were closing,” she recalled. “He subbed in so incredibly ... I was like, ‘Wow, this is a whole different play with this guy acting with us.’”"
("Much Ado About Nothing," Hip to Hip Theatre, Sophie Krichevsky, 2022)
"Wulff is excellent as Richmond, and he also figures, as Clarence, in another memorably staged scene, in which one of the murderers sent by Richard, in a nice detail, prematurely pulls out a dagger, removing their element of surprise and prompting his line that questions if they are there 'To murder me?'"
("Richard III, Hip to Hip Theatre, John R. Ziegler and Leah Richards, Thinking Theater NYC)
"[Joel Leffert, Lear] was given strong support by every member of the company, including Colin Wulff as Edgar, the loyal son of one of Lear's noblemen."
("King Lear", Hip to Hip Theatre, Mark Lord, Queens Chronicle)
"... several performers stand out: ... Alexander Nero, Colin Wulff and Sam Leichter, who provide much of the comic relief. Brief musical interludes [played and composed by Colin Wulff and Alex Jones] also prove entertaining." ("Measure For Measure", Hip to Hip Theatre Mark Lord, Queens Chronicle)
"Highlights include Colin Wulff's pompous Sir Nathaniel..." ("The Bride", A Work Unfinishing)
"Reprising the role for which he [Bill Irwin] won a Tony Award in 2005, Irwin performed a scene as George from Edward Albee’s Who’s Afraid of Virginia Woolf, supported by College senior Colin Wulff as husband, Nick. Wulff held his own admirably..." (Anne Pride-Wilt, Oberlin Review)
"...the sincere tenor (not to mention brilliant acting) of College junior Colin Wulff as the Baker received shouts of approval, both solo and in collaboration with College first-year Emma Leiken and College junior Will Hofmann." ( "Into the Woods", Julian Ring, Oberlin Review)
"Michael is perhaps the play’s most mercurial character, winning and then discarding the viewer’s favor, and Wulff rose to this challenge adroitly. He played Michael with a slow-burning fuse, the claws coming out only after everyone else has descended into verbal massacre — and even then, Michael adopts a joyful ignorance in the face of disaster." ("God of Carnage" , Abby Hawkins, Oberlin Review)
"Poor Hawkins, who, as played by Colin Wulff, looks older than the lad of about 14. But Wulff, in a multi-faceted portrayal, convincingly captures Hawkins’ impulsive nature, happy, adventure-loving personality, bravery, contemplative moments and sincerity. His growth into a mature person is seamless." ("Treasure Island" , Aaron Krause, Norwalk Reflector)
"Wulff (Osvald) presents a disturbing descent into hell, producing an arc of character that is fascinating to watch, and heartbreaking to bear witness to his own solution." ("Ghosts" , Kevin Kelly, Tpography)
"A wacky cast of bohemian artists gamely supported the action, providing sparkling moments of levity with snappy one-liners and sprightly, spirited choreography by Holly Handman-Lopez. As aspiring dancers Kenny and Maggie, College first-year Colin Wulff and College sophomore Samantha Bergman recalled the easy and enchanting dynamic of Fred and Ginger with the old-school “Keepin’ It Hot.”" ("Flora the Red Menace," EJ Dickson, Oberlin Review)
"In the performance, this central pairing was a high point of the show — the title characters were simply a delight to watch… College senior Colin Wulff’s portrayal of Guildenstern was similarly fitting. For most of the play, Wulff held his head high and maintained a slight smirk that exemplified Guildenstern’s droll, logical side, but in the penultimate scene, he and his partner delivered a haunting dialogue. Wulff’s words were strong, yet his shaking voice underscored Guildenstern’s fear of what lay before them." ("Rosencrantz and Guildenstern Are Dead" , Andrea Goltz, Oberlin Review)
"Oberon, the Fairy King (Phil Croton), dressed like a certain "King" of rock and roll, sends his "shrewd and knavish sprite" Puck (Colin Wulff) on a mission that goes awry by way of mistaken identity. The rapport between the two is tickling to watch, as are their dealings with Oberon's alienated queen Titania.
Accessible, fun and full of laughs, it's not only the best production of "Midsummer" I've seen, it's the best Shakespeare I've seen live." ("A Midsummer Night's Dream," Neil Coker, Tallahassee Democrat)
"Winneg’s Helena is contrasted by Colin Wulff’s deceptively charming, stuck up, hurtful Bertram." ("All's Well That Ends Well" , Aaron Krause, Norlwalk Reflector)
"They are supported by a strong cast, particularly Annie Winneg as the opportunistically carnal Marie and Colin Wulff as the buff Turk" ("Come Back Little Sheba", Christine Howley, Rave and Pan)
"Audience Applauds OMTA Fall Showcase: Colin Wulff and ... Rachel Smith-Weinstein sung “All the Wasted Time,” a tale of wistful mourning, with a message of undying support and love throughout. The performers carried the song brilliantly despite having had only a few weeks of rehearsals." (Oberlin Musical Theater Association Showcase, Oberlin Review)
"The highlight of the show was College senior Colin Wulff’s “The Martyr Matters,” which drew on some of the same elements of surrealism as “Guidance,” but with more narrative drive and thus ultimate success. Wulff’s premise concerned five robed individuals squabbling sophistically over which of them ought to suck it up and allow themselves to be ritually slaughtered for the pleasure of their pretzel-based deity. It culminated in a surprising, thoughtful ending, one of the few in the showcase." (Oberlin Student Theatre Association Showcase, Anne Pride-Wilt, Oberlin Review)