"Matching her every step of the way is Young Vic veteran Joshua Hughes as Ko-Ko, the feckless Lord High Executioner, a character who has been a comic gold mine for clowns from Groucho Marx to Eric Idle. Hughes proves comparably adept at mining the part for laughs, even as he manages to invest it with far more depth.


I chuckled every time he struggled to wield his oversized headsman’s ax, even though it was obviously only a light-weight facsimile, since his acting is credible enough to convince the prop itself of its heaviness. And he is no less persuasive at melting hearts in the beloved “Tit-Willow” song, not least because, unlike most actors who essay this role, Hughes is a bona fide operatic baritone."

                     -DC Metro Theater Arts, 2018, "The Mikado"


"Joshua Hughes’ brassy baritone and command of patter made him right at home within this genre. Dramatically, he was engaging and a complete joy to watch as Ruthven in “For Thirty-five Years” from Ruddigore. This number, which tells of a young baron who mourns for the innocent life he used to live, was removed from the original score and is therefore seldom seen. Friday evening was its first professional performance in the Dallas-Fort Worth area."

                   -Texas Classical Review, 2019, "Gilbert & Sullivan Rarities"

"For this portion of the evening, singing and acting were flawless and captivating; ... baritone Joshua Hughes brought an equally powerful lyricism and ardor as The Fisherman who falls in love with the Banker’s mistress."

                   -Texas Classical Review, 2018, "Die Flut"

"This half of the program was worth the venture out to the Sammons Center for Opera in Concert. Joshua Hughes, whose neat and bodied baritone portrayed the tender-hearted Fisherman, was delightful in character and interpretation."

                  -Theatre Jones, 2018, "Die Flut"

"Hughes’ baritone was deep and warm, but flexible, as he threw the ends of many phrases away, presumably to emphasize the exasperated state of mind of his character."

                     -Theater Jones, 2018, "La Serva Padrona"

"Her companion, Melisso (Joshua Hughes), showed himself familiar with the ways of the world, an indispensable help in helping her navigate the unfamiliar world she found herself in, and his rough and ready vocalism betrayed his familiarity with human nature without descending into farce."

                    -Schmopera, 2018, "Alcina"

"The excellent baritone Joshua Hughes portrayed King Licomedes." 

                    -Theater Jones, 2018, "Achille in Sciro"

"Hughes had a brilliant vocal range; however, that which truly set him apart was his ability to tackle two such contrasting sides to his character. I was interested in Hughes’ transition from a pleasant farmer to a villain caught in the family curse. He seemed to have fun playing the villain, and the enjoyment he infused into the role made his portrayal of Robin a constant joy to watch."

                   -DC Metro Theater Arts, 2015, "Ruddigore"

"Catrin Davies, Joshua Hughes, and Mark McGrath were fabulous during "My Eyes are Fully Open from RUDDIGORE... It was very smart to then present Broadway's Tony-winning musical THE MUSIC MAN with "Trouble" sung by Joshua Hughes."

                -Broadway World, 2019, "A Salute to Gilbert & Sullivan"

"Achilles in Skyros sticks to the baroque convention of casting major male roles with castrati (none of that here) or women in male drag. The one exception is Licomedes, portrayed as a bit of a rustic — what can you expect on an island? — with a baritone to match, by Joshua Hughes."

                 -Dallas Morning News, 2018, "Achille in Sciro"


"Joshua Hughes' baritone was persuasive for the Drunken Poet scene."

                -Dallas Morning News, 2018, "The Fairy Queen"