SELECTED INTERVIEWS (2019)
Them.us: “‘As I'm walking in, I can hear them mumbling to themselves,’ Younes recalls. ‘Oh, it says he's a transgender, she's a transgender. I don't know what to call that. Like, I don't know, like what kind of transgender? Like what, what does that mean?’ Younes knew before even starting the audition they were in the wrong room.”
The Ensemblist: “Don’t fear all that’s possible for you. Don’t be scared because you walked into an audition room and didn’t see anyone else like you. Don’t be scared because you just wrapped up one production and you don’t know what’s next. You can’t always control stuff like that, but you can control you.”
REVIEWS FOR INTO THE WOODS (2019)
The Washington Post: “‘Into the Woods’ is one of the most frequently produced pieces in Sondheim’s canon in part because its iconography is so accessible: Cinderella, sung to lilting perfection by an adorable Erin Driscoll, Prince Charming (a fine-voiced Christopher Mueller), and mischievous Jack of Beanstalk fame (an engaging Samy Nour Younes) all figure in the show’s interlocking subplots.”
Brightest Young Things: “Samy Nour Younes makes great use of every moment of his stage time.”
Fredericksburg: “Other standouts include… Jade Jones and Samy Nour Younes, [who] also have some nice moments as Little Red and Jack.”
Talkin’ Broadway: “Director Peter Flynn has brought together a large, diverse, and talented cast for his sparkling production of Into the Woods at Ford's Theatre in Washington… Driscoll is lovely, Younes achingly sweet-natured, Gonzales a riot as she has to clean up after Jack's adventures, and on and on.”
REVIEWS FOR WELL-INTENTIONED WHITE PEOPLE (2018)
Broadway World: “The entire ensemble cast deliver unquestionably high-quality performances. Each displaying a range of emotion and dynamics as their characters navigate the windy and often choppy waters with such strength and dexterity that there is not even a moment we doubt them, nor the conviction with which they are compelled to do what they believe to be the ‘right thing.’”
Berkshire Valley Advocate: “The script supplies its share of laughs. Some of them flow from Cass’s exasperated attempts to deflect the help she doesn’t want, and more from her they-just-don’t-get-it exchanges with her best friend and closest faculty ally, Parker (Samy el-Noury), a Latinx trans man.”
In the Spotlight: “Parker (Samy El-Noury) delivers some of the most cogent lines of the play.”
The Berkshire Edge: “As Parker, Samy el-Noury gives a remarkable performance of the transgender teacher who has been outed to the faculty by the Dean. El-Noury is excellent in this role, and his playing has that personal resonance that only good theater can give to an actor’s reality… As Cass’s best friend Parker, the actor helps shore up Tyler’s performance by giving a different level of real concern to their scenes together. Watching them together, one might think they were improvising, making up their roles and relationships on the spot, but it is just their joint performances that gives this impression. They are great together in a problem play about what may be their own, actual problems… for they get into some difficult deep waters in the course of the play.”
INTERVIEW FOR SWALLOW (2017)
Philadelphia Gay News: "Samy el-Noury is a renaissance man. A well-respected actor, Noury is also a musician, a brown belt in Shaolin Kung Fu, does pretty well on a trapeze, speaks a smattering of French, Arabic and Spanish, is fluent in Japanese and knows his way around a puppet. Not bad for someone who hasn’t turned 30 yet."
REVIEWS FOR CHARM (2017)
Interview with DC Theatre Scene: "... it is a trans experience. Maybe not the trans experience. It is one story. I think there are parts of it that are very real. I remember the first time we went through a read of the play, I cried at moments. Some of these words are words that have come from my mouth, in total honesty... and then, there are perspectives that trans people in the play have that I don’t agree with, but I certainly know trans people who do."
Review from DC Theatre Scene: "[el-Noury] brings a playful spirit... and ends up being swept up into the family."
DC Metro Theatre Arts: "Logan, the unlikeliest of the group, is a college-bound boy who is not sure whether he’s gay or trans. Played by Samy El-Noury, he adds a note of innocence to the proceedings, much like the ingenue in a straight comedy."
REVIEWS FOR HARRY AND THE THIEF (2016)
WYPR: "The cast includes a narrator named Anita, who’s a movie director. The play we’re watching is the movie that Anita is making... El-Noury plays Anita as preening, posing and sexually ambiguous."
MD Theatre Guide: "Anita (Samy el-Noury), the show’s director, is everywhere at once, giving acting direction and handing out props, all while delivering a hilarious side commentary for the audience."
The Baltimore Sun: "Samy el-Noury captures the camp humor in Anita."
REVIEWS FOR THE DUM DUMS (2015)
Broadway World: "From the Glass Mind Theatre company actors Liz Galuardi, Samy el-Noury and Ann Turiano, director Benjamin Kamine draws believable, nuanced performances."
DC Metro Theatre Arts: "El-Noury is challenged most of all, as he is called upon to switch between long-dead human dermatologist to current zenomorphic threat multiple times in a five-minute period. His comfort with character voices and physicality create effective contrasts, as the play rapidly moves toward a harrowing climax."
Baltimore Post Examiner: "[El-Noury] infuses Lambert with a gentle naivety which helps to quietly settle the audience before the real trouble begins. Both Turiano and el-Noury adroitly portray a number of other characters throughout the play, as Traeger and Schill’s respective minds slowly become unraveled."
REVIEWS FOR MACBETH (2015)
The Bad Oracle: "I have been a fan of el-Noury in the past and now I’m signed and sealed in love with him... A slight and gentle man with eyes full of confusion and fire, he isn’t your grandmother’s Macbeth. El-Noury is no brute and he plays the part as a delicate soul grown hard as a black diamond by the heat of powerlust. The contrast between his trembling body standing under a naked light bulb, vulnerable and horrified, after his first murder and the growl of his voice as he spits 'There is blood on thy face!' at his minions after one much later is electrifying, horrifying. El-Noury makes me want to listen to him even when I know what he’s going to say."
Theatre Bloom: "[El-Noury] delivers a much more internalized Scottish tyrant than the masses are used to expecting. This does not, however, mean that his performance is anything less than brilliant... [El-Noury] exposes the rarely seen psyche of Macbeth's internal monologue. Driven a great deal throughout the performance by a lingering fear and doubt that he cannot shake, when that finally transforms to wrath at the end— the transformation is glorious as el-Noury's timid characterization undergoes metamorphosis and erupts into a terrified beast lashing out as it is cornered. Well rounded, well grounded, and well played, el-Noury delivers an unconventional Macbeth that is on par for the performance as a whole and is wholly pleasing throughout the production."
REVIEWS FOR THE ALL-AMERICAN GENDERF*CK CABARET (2014)
The Bad Oracle: "I fell in love with [el-Noury's] Benji – his physicality is beautiful and funny and expert."
City Paper: "Benji is a comic gem, as el-Noury understands that some of the play's punch lines rely on his facial reactions and physical responses."
REVIEWS FOR PETER PAN & WENDY (2014)
DC Metro Theatre Arts: "Peter Pan (Samy el-Noury) is adventurous and fun. El-Noury also brings a strong singing voice to the show, his title number 'He is the Pan' being a most fun vocal adventure... Crowing and zipping about the stage, el-Noury is filled with engaging energy and knows how to respond to younger audiences when they invite themselves into the production. He plays well with Wendy and much like the lost boys is extremely animated and very exciting to watch."
MD Theatre Guide: "[el-Noury] as Peter Pan joined in on the fun and excitement and gave a performance that deserved the clapping encouragement from the children in the audience."