[Fun Home] As Bruce, Robert Cuccioli is simply sensational, gently revealing Bruce's inner confusion and anger as it manifests itself in a vast array of ways: working as a funeral director and a high school English teacher and a classic home renovator - all the while neglecting his primary roles as father and husband. ~ Broadway World
[Titus Andronicus] Titus' brother, the politician Marcus, can be longwinded and sanctimonious, but Robert Cuccioli captures an air of gravitas for this character. ~ The Star-Ledger
[South Pacific] Both Hill and Robert Cuccioli…superb singers, as such credits would suggest, and while the difference in their ages is greater than you usually would see even in “South Pacific,” Cuccioli turns that to his advantage. There’s an air of desperation about his de Becque, the sense that this is a man who knows Nellie represents his one last shot at love. No Nellie means eternal loneliness. Cuccioli dives deep into his own decay; the idea works, not least because it at least partially explains why he seems to forget he is a father when he goes off on a likely suicide mission… ~ Chicago Tribune
[A Moon to Dance By] Mr. Cuccioli reminds us what a fine, sensitive actor he is. ~ The New York Times
[Antony and Cleopatra] Cuccioli is not the familiar weathered warrior but a youthful, virile, tattooed Antony. He gives a robust performance and has both an authoritative presence and an impressive command of the language. Cuccioli also captures Antony’s nobility and restless passion for the Queen of the Nile. ~ Variety
[Snow Orchid] “Cuccioli… distinguishing The Bikeman downtown, again proves his post-Jekyll & Hyde career is further evidence of on-stage prowess.” ~ Huffington Post
[Bikeman]  Cuccioli…gives a performance of great weight, persuasion and nobility. ~ Huffington Post
[Rothschild and Sons] “And it has the dapper Robert Cuccioli as Mayer Rothschild, the German-born founder of his family’s banking dynasty. Broadway audiences have seen Mr. Cuccioli as Javert in “Les Misérables” and as the title characters in “Jekyll & Hyde.” I once saw him in regional theater as an Iago so fascinating that Othello seemed like a supporting character in his own play. He doesn’t disappoint here.” ~ The New York Times
[Amadeus] “Robert Cuccioli, who starred in the double lead role in the 1997 Broadway production of “Jekyll & Hyde,” turns in a stunning performance as sarcastic court composer Antonio Salieri…Slyly venomous and obsessively jealous of Mozart’s musical mastery, the aging, dying Salieri relates, in a series of graphic flashbacks, the subtle but ruthlessly manipulative acts that destroyed Mozart’s career and ultimately his life…Cuccioli, who has triumphed in recent seasons at the Garden State theater as Mark Antony, Brutus and Macbeth, remains onstage throughout the play, creating a chillingly authoritative characterization laced with fury and cunning wit.” ~ The New York Times
[Man of La Mancha] Robert Cuccioli makes a gentle, touching, genuinely deranged Quixote…From his first scene, in which he enters an Inquisition-era prison as Miguel de Cervantes, then applies a little fake facial hair and becomes that author’s most famous creation, he gives a quietly stirring performance… And it is an undeniable fact about “Man of La Mancha” that if the star does even a passable job of the show’s anthem, “The Impossible Dream,” the evening is worth any reasonable price of admission. Mr. Cuccioli nails it, making the song his own with an impressive blending of fervor and shakiness. ~ The New York Times
[1776] Robert Cuccioli dominates the stage as John Dickinson. It is not only Cuccioli's smooth regal bearing and arch, supercilious line readings, but also the intensity and thoughtfulness with which he listens to all that is said that makes Dickinson so convincingly formidable. It is worth noting that director Greenberg has all of his Congress involved in the proceedings at all times, but Cuccioli is particularly riveting in contemplation. Cuccioli's performance of "Cool Conservative Men" is vocally and dramatically right on target. ~ Talkin’Broadway.com
[Hamlet] Mr. Cuccioli is always a strong presence on any stage. ~ Examiner.com
[Julius Caesar] Robert Cuccioli’s honorable Brutus is played as a man of considerable principle and lofty expectations. The numbing chill of his studied intellectual approach makes for a compelling study. He never raises his voice until a final disagreement with fellow conspirator Cassius (Richard Topol), only then providing a glimpse of the regret and guilt he clearly harbors. ~ Variety
[Lorenzaccio] Jeffrey Carlson (recently on Broadway in “The Goat, or Who Is Sylvia?”) and Robert Cuccioli (Broadway’s “Jekyll and Hyde”). Both hit the target with deft portrayals of complicated characters…Cuccioli revels in one of French theater’s most storied roles as the Duke of Florence, a man living in delirious ecstasy above the law. The character is deliciously without conscience as he commands women to his chamber and commits other dastardly deeds, merrily justifying his wanton behavior.  ~ Variety
[Macbeth] Robert Cuccioli…has crafted a Macbeth of fire and intelligence. There is a rugged physical strength that dominates his presence, and there lurks behind his sturdy, handsome presence a commanding blend of drive and stature. ~ Variety
[Paint Your Wagon] The cast, however, has nothing but engagement and power behind it especially when lead by the oh so powerful Cuccioli. If you're familiar with him you know what a gift from the Gods his voice is and he's got a beautiful slow burn of a character making him quite honest and real. ~ Broadway World
[Othello] Robert Cuccioli is such a strong, complex Iago that Lindsay Smiling’s Othello seems almost like a minor character until his temper erupts in Act III…I never had the pleasure of seeing Mr. Cuccioli’s Salieri or his Macbeth, but I cannot imagine his having been in finer form than he is here. The audience is seduced by Iago’s easy confidence and considerable charm. When he observes, “I never found a man who knew how to love himself” as he does, his brand of self-esteem seems almost contemporary. ~ The New York Times
[White Guy on the Bus] Hiding everything behind his cold, calculating eyes, Cuccioli delivers a fascinatingly dynamic portrayal: At first he seems like a man in the grips of a midlife crisis, but his ruthless instincts (the ones we suspect led him to make a killing on Wall Street) slowly come to the fore. ~ TheatreMania