THREESOME (59e59 NYC/ACT Theatre Seattle)

"Quinn Franzen steals the show with his flamboyant, nervous, quirky, hung-up Doug. When he shows up onstage, you can’t take your eyes off him... When he needs to be more serious in the second act, the laughter quickly turns to empathy."
David Lally, NY Theater Now

"Doug, played with terrific angst-ridden humor by Mr. Franzen..."
Charles Isherwood, New York Times

"Franzen brilliantly makes us believe that Doug is just an unwitting dolt, then blindsides us with the possibility that he may be a master manipulator, especially when his relationship with the couple turns out to be a lot more involved than just a one-night stand."
Zachary Stewart, TheaterMania

"The first half of the play is filled with delightful comic moments, largely thanks to Franzen’s Doug. Try to imagine a naked Stan Laurel trying to engage with a couple in the midst of a cultural and relationship crisis. Franzen’s timing is impeccable, as he glances at the pair, on either side of him in the bed, realizing that he is absolutely in the wrong place at the wrong time. He’s a sweet imbecile with a tender heart and, as it turns out, not so naive—nor as innocent—as it would at first appear.
JK Clarke, Theater Pizzazz

"As Doug, actor Quinn Franzen masters the clueless-dude character who is full of faux insights into himself and others, but his naïveté becomes sinister in a second-act monologue that wouldn't work nearly so well if Franzen weren't so good..."
Brendan Kiley, the Stranger

ROMEO AND JULIET (Intiman Theatre, Seattle)

"Franzen's scenes with Fitzpatrick are highlights of the show... Where he really shines, however, are in his soliloquies... Franzen’s soliloquies are intimate conversations with the audience. He speaks to us and we nearly answer. He joins us in the house and we feel like he’s one of us and that we belong to him."
Stefan DW, the Sunbreak

"The pleasure here is a company of artists working together intimately in several shows, so we get to enjoy their mastery in multiple roles. One night you have the absurdly talented Quinn Franzen as a fat American cowboy in Dirty Story; the next, he's the lovelorn swain of Verona."
Margaret Friedman, Seattle Weekly

THE IMPORTANCE OF BEING EARNEST (Seattle Shakespeare Co.)

"The current production of The Importance of Being Earnest, directed by Victor Pappas for Seattle Shakespeare Company, is a master class in Quinn Franzen’s eyes. The rosy-cheeked young actor merrily glides through his performance as Algernon, a witty and carefree rascal, like he’s acting on ice skates, pausing only to gaze at the audience with sly bedroom eyes whenever he says anything particularly clever... underscoring the self-awareness that makes Earnest tick."
Brendan Kiley, the Stranger

"... the actors moderate between humor and restraint without slipping from satire into straight-out parody. Franzen and Toms are delightful upper-crust rogues, verbally sparring with perfect timing, tossing out barbed comments with ease. Franzen’s self-indulgent smile and bright eyes punctuate his breezy manner as he lounges carelessly on furniture, leans in to flirt with Cecily or sits down to tea."
Rachel Gallaher, CityArts

ANGELS IN AMERICA (Intiman Theatre, Seattle)

"Quinn Franzen is excellent and nearly unrecognizable in the central role of Louis. Franzen ... lives fully inside this tightly wound bundle of intellect and anxiety"
Stefan DW, the Sunbreak

"Second only to Roy Cohn in unlikability, the acerbic and abstracted Louis Ironson is played on point by Quinn Franzen. (When the night’s one slip occurred—a hot dog malfunction, almost too perfect—Franzen and Boice did not miss a beat, and those who didn’t know better might have sworn it was all part of the plan.)"
T.S. Flock, Vanguard Seattle

HEDDA (Wandering Bark Theatre Company, NYC)

“Quinn Franzen had a Gatsby-esque charm as Eilert Lovborg. Franzen marries the slightly heightened text with the modern cadence excellently.”
Michael Block, Theater in the Now