Fredricks might be awarded the honors of the evening for his versatility and effortless energy. Fredricks’s Matthew was persuasively compassionate, angry, deluded and heartfelt by turns, giving a well-considered performance replete with a depth of emotional complexity.
– Mildred Yuan, agent at United Agents UK, The Harvard Crimson, http://www.thecrimson.com/article/2004/3/15/review-dysfunction-made-delectable-a-dynamic/
Gilead [directed by Scott Zigler] is marked by extremely good acting. Sean Fredricks turns in a convincing performance as Joe, an up-and-coming young blade who has found himself in over his head pushing for a ruthless syndicate. Joe’s mood swings—guardedly tender one moment, ambitious another, and occasionally terrified—are earnest and comprehensible, and Fredricks does a commendable job portraying the complexities of a weak personality under stress.”
– Patrick Blanchfield, The Harvard Crimson, http://www.thecrimson.com/article/2004/10/25/theater-review-venturing-into-the-underworld/
Another especially memorable performance is that of Fredricks’ Cat Gotchatongue. Bedecked in glittering, flowing black and scarlet robes and with a face plastered with white makeup, Fredricks’ silent acting is vivid and ridiculously histrionic, perfectly fitting the dramatic silent film music that accompanies his movements.
— April Wang, The Harvard Crimson, http://www.thecrimson.com/article/2006/2/27/yacht-hits-the-spot-the-sun/
In a stunning piece of improv by Ben Stiller at his Hasty Pudding roast, the actor played a manic Tom Cruise (is there any other kind?), giving a pep talk to a depressed Sean Fredricks.
With great commitment, Fredricks demonstrates [Duke] Orsino’s shows of love…After the Duke proclaims that he and Viola will stay with Olivia…he gives her a loving hug. He then looks at her. Within this singular look, I could see all the love that he earnestly proclaimed for her, all the hurt he shouldered with her refusals to see him, all the heartache he feels in letting her go with Sebastian. His love is not sticky sweet with sentimentality; it is so overwhelming and all-encompassing that her happiness comes before his own. It is in this moment that I felt compelled into the play and its romantic ending, painful open wounds healing just beneath the surface.”
— Roseanne Wells, “Always Loving the One You can’t Have,” https://www.playshakespeare.com/twelfth-night/409-theatre-reviews/3666