Fiery, golden-toned Jarrod Zimmerman … nails Edwards’ most conscience-probing number, the fervent expose of Northern complicity in the slave trade, ‘Molasses to Rum.’
One the most outstanding moments of the production is Jarrod Zimmerman as Edward Rutledge singing ‘Molasses to Rum.’ What an astonishing performance. He sings the hell out of the song and it brings down the house.
‘Molasses to Rum’ ends up a show-stealer in the hands of the immensely talented Jarrod Zimmerman.
The terrific Jarrod Zimmerman … takes on one of the more bizarre but musically interesting numbers of the show, the analysis of the slave economy titled ‘Molasses to Rum,’ and hits it out of the park.
In one of the most riveting scenes … Jarrod Zimmerman delivers a haunting performance of a song that describes the slave trade. It sends shivers down the spine.
Jarrod Zimmerman finds an ideal role in nebbishy, neurotic love interest Oscar Lindquist. His claustrophobic reaction to a stalled elevator is a triumphant bit of physical comedy.
Topol's performance [is] effervescent, adorable and real. Zimmerman [is] shyly hysterical with a sensitive yet powerful baritone. If I didn't know any better, I'd assume this sexy salted caramel was a star-vehicle built for these two!
Jarrod Zimmerman, just right as the needy young nerd
The revelation is Jarrod Zimmerman...with a wonderful blend of comedy and inner confusion. Charity and Oscar are trapped in a stalled elevator, and Oscar, being claustrophobic, freaks out. It's a scene ripe for slapstick over-acting that Zimmerman turns into a comic gem. And his final scenes with Charity convey a pain and regret that are a model of sensitivity and real anguish.
A break through role for Jarrod Zimmerman who is dynamite in this special role.
Jarrod Zimmerman makes a hilariously twitchy Oscar, the neurotic tax accountant whom Charity pins her hopes on. The scene in which the couple meets by being trapped in an elevator together is sidesplitting, and his portrayal of the obsessive, self-centered ably foreshadows the inevitable end.
Other credits include
Franklin Shepard in Merrily We Roll Along (The Music Theatre Company); Young Scrooge in A Christmas Carol (Goodman Theatre); Harry in It's a Wonderful Life: Live in Chicago! (American Blues Theater); Lucentio in Shakespeare in the Parks: The Taming of the Shrew (Chicago Shakespeare Theater); John Brooke in Little Women, Pinocchio, City of Angels, The Music Man, Into the Woods (Marriott Theatre); Gypsy (Drury Lane Theatre); Lexy in A Minister’s Wife (San Jose Repertory Theatre); A Day in Hollywood / A Night in the Ukraine (Peninsula Players); Josh in Big! the musical, Hal in Proof, Detective Sgt. Trotter in The Mousetrap, John Brooke in Little Women (Arrow Rock Lyceum Theatre); I Love You, You're Perfect, Now Change (Totem Pole Playhouse); Television credits include: “Chicago Fire” (NBCUniversal) and “Boss” (STARZ)