Stage reviews:

Marathon of Hope: The Musical (2017)

“Kristian Truelsen plays Terry's father, Rolly and together with Betty, the couple bring both warmth as well as many humorous moments to the musical.”

—Waterloo Region Record

Long Day's Journey into Night (2016)

“But actors this fine command attention… Kristian Truelsen, as [James Tyrone], mixes love, regret and anger into a compelling characterization.”

—Orlando Sentinel

The Apprenticeship of Duddy Kravitz (2015)

“Kristian Truelsen, as Peter John Friar, the director, is hilarious. He creates a ripple in the audience whenever he appears on stage.”

—Montreal Times


“A ditty about art and commerce, sung by Duddy and Kristian Truelsen’s wonderfully fruity film director, has a pizzazz reminiscent of The Producers.”

—Montreal Gazette


“Kristian Truelsen is sly and funny as the effete Peter John Friar, a blacklisted film director Duddy hires to make bar mitzvah movies.”

—Cult #MTL


“Comedy relief is highlighted by Kristian Truelsen in the role of Peter John Friar, the lush movie producer Duddy hires to make Bar Mitzvah Movies. Their rendition of ‘Art and Commerce’ is a show-stopper.”

—The Suburban


“Kristian Truelsen…injects adorable comic juice…as Peter John Friar, eccentric artistic film director for Duddy’s company; he is a stand-out. The songs were riveting; the funniest was ‘Art and Commerce can be friends’ – a hilarious duet with Duddy and Friar singing on the dotted line.”

—Culture Plus


“The production is blessed with a superb supporting cast; the superior performances come from…Kristian Truelsen as the blacklisted film-maker Peter John Friar.”

—The Métropolitain

Laughter on the 23rd Floor (2014)

“As Max Prince, Kristian Truelsen is simply wonderful. He's big as [Sid] Caesar…and his facial expressions are a thing of beauty. You could imagine him as the star of a very funny '50's variety show. …A welcome find.”

—Broadway World


“In American Stage's current production, Kristian Truelsen makes a strong impression as Max, both stooped and physically imposing, as his moods veer between creative genius, paranoia, anger and an almost catatonic depression. He's also blunderingly funny.”

—Tampa Bay Times

The Sound of Music (2012)

“…Showbiz impresario Max—the excellent Kristian Truelsen.”

—Edmonton Journal


“Other stand-outs are… Kristian Truelsen—droll as the jolly impresario, Max Detweiler.”

—Edmonton Sun

Anne of Green Gables—The Musical (2011)

“A Matthew for the ages.”

—Don Harron; author/lyricist, Anne of Green Gables—The Musical


“Kristian Truelsen’s Matthew is a real sweetheart, and has great father-daughter chemistry.”

—The Globe & Mail


“[Anne’s] verve helps to uncover an unexpressed playfulness in Matthew Cuthbert, played with affable charm by Kristian Truelsen… In this production, Matthew and Marilla win over the audience’s affections as quickly as they win over Anne’s.”

—The Buzz: Arts & Entertainment on Prince Edward Island


“Kristian Truelsen plays an excellent Matthew, endearing himself to the audience. Truelsen sings his songs, such as “Humble Pie” and “The Words” where other Matthews just talk them.”

—EntertainThisThought.com


“Kristian Truelsen as Matthew can make you laugh and break your heart without missing a beat.”

—UrbanMoms.ca - “Cocktails & Curtain Calls”

Kiss Me Kate (2010)

“The interpolation, from another Cole Porter score altogether, of “From This Moment On” does nothing for the show… This is no reflection on the actor, Kristian Truelsen; he’s excellent.”

—National Post

“Kristian Truelsen is appropriately officious as General Harrison Howell… Doyle assigns him the song “From This Moment On” …Truelsen carries it off but it is odd to have such a great song sung by such an off-putting character.”

—Stage-Door

My Fair Lady (2009)

“Kristian Truelsen is another standout as Col. Pickering.”

—Kamloops Daily News

Ah, Wilderness! (2009)

“It is Kristian Truelsen as Nat Miller who makes an incredible impact… He's old stock newspaper man, remarkably sharp-witted. He's also a gentle spirit. Truelsen captures these seemingly contradictory elements.”

—The Chronicle (Ladysmith, BC)

A Delicate Balance (2006)

“…this is a vivid company of actors…Kristian Truelsen makes a remarkable Tobias, at first quietly lost in a sea of confusion, then blundering to the forefront to try to do what he sees as right…Truelsen finds in Tobias something good amid the helplessness. It’s his ham-fisted stab at change that is the play’s shard of hope.”

—Orlando Sentinel

Arms and the Man (2005)

“Ouellette has a savvy cast on his hands, and he has used them beautifully, from the head of the household, Maj. Petkoff (Kristian Truelsen), an imposing man who leads with his impressive mustache…Truelsen is a stitch as the genial Petkoff, who is happiest when he can sit in a corner and be left alone.”

—Orlando Sentinel

“…Paul Petkoff, played by a most delightful Kristian Truelsen…”

—Florida Today

“[Kristian Truelsen] brings his considerable skills of timing and double entendre to the role.”

—Ink19

“Kristian Truelsen is also quite funny as the dense Major Petkoff.”

—The Ledger/The Reporter

“Truelsen played the buffoonish Major Petkoff right on the mark.”

—The Daily Sun

A Couple of Blaguards (2006, 2002)

“an ebullient restaging…stars the fraternal team of Kristian and Doug Truelsen, two of [Orlando’s] most accomplished thespians. The years have only increased the proficiency of the Truelsens’ performances. Both turn in masterful portrayals…with protean expertise and practiced style…”

—Orlando Weekly (2006)

“Here's an experiment: Bring together the brothers Truelsen and cast them as a couple of Ukrainians. Cast them as a couple of Greenlanders. Shoot, cast them as a couple of Swiss—they'll still be funny. So when the Truelsen brothers play Irish, you can expect nothing but good to come of it. And nothing but good is what you get in A Couple of Blaguards. Blarney-lovers flocked to Blaguards the first and second times it turned up. If they have any sense—or any appreciation of the fine art of nonsense—they'll be hanging from the rafters the third time around.”

—Orlando Sentinel (2006)

“Kristian and Doug Truelsen are wickedly funny…”

—Southwest Orlando Bulletin (2002)

“Kristian and Doug Truelsen make sweet music of the McCourts’ artful yarns in Orlando Theatre Project’s blissful new production of the show…the seasoned Truelsen brothers make sport of the way they devise each new character…”

—Orlando Sentinel (2002)

“Changing their voices and demeanors with practiced flexibility and style, the Truelsens need only small costume accoutrements…to re-create lovingly a childhood world that couldn’t have been quite as humorous and enjoyable to have lived through as it is to report upon… The Truelsen brothers are evidently enjoying the entire affair, and their ebullient attitudes are infectious… With a couple of blaguards like the Truelsens impersonating a couple of blaguards like the McCourts, all that is needed is to turn up the lights, fill the glasses and get out of the way.”

—Orlando Weekly (2002)

Trapezium (2005)

“So there’s hearty King Mark (Kristian Truelsen), a little less than astute but benefiting always from Truelsen’s mellifluous voice, which turns the foolish king into a fool with warmth and weight… Those five [members of the cast] make splendiferous work of Rathvon’s language…”

—Orlando Sentinel

“Truelsen is sympathetic and lighthearted…”

—Orlando CityBeat

“…ferociously funny… Kristian Truelsen reigns once more as King Mark…”

—Orlando Weekly

Underneath the Lintel (2004)

“Very funny, with Truelsen getting excited, and berating the audience, and making connections to coincidences that were never meant to connect… With his balding pate and flyaway hair, which sticks up in all directions as his story progresses, Truelsen recalls Back to the Future’s Doc Brown, and the Librarian and the crazy inventor certainly have the same wild-eyed zeal. But in Truelsen’s hands, this is a more refined soul…It’s a lovely, inventive performance, and it’s one that grows more poignant as the play goes on.”

—Orlando Sentinel

The Real Thing (2001)

“[Truelsen is] adept at channeling Stoppard’s finely crafted dialogue.”

—Orlando Weekly

Marry Me a Little (1998)

“No one at the Orlando International Fringe festival this year is better than Anne Hering and Kristian Truelsen at creating an all-encompassing world—a Sondheim world of joy and pain and ambivalence that makes you long for it to stretch on forever…two astute performers…both of them warm, engaging actors and mellow-voiced singers… marvelous at finding the bittersweet joy of a Sondheim lyric and a Sondheim line…If there’s any justice in the universe, some local theater will find a way to make this production live on and on and on.”

—Orlando Sentinel

“The two performers create a pure delight with their impeccable timing and complementary vocal styles.”

—Orlando Weekly