Here’s an article in the journal Emergency Physicians International, including an interview, about Hospital Clowning with Healthy Humor, Inc. 


Spy Academy- February 2021

“Pauli’s high energy, childlike eagerness, and kid-on-Christmas excitement is both hilarious and contagious.” – dcmetrotheaterarts

The Barber of Seville- May 2018

“And though he never utters a word, actor Matthew Pauli positively kills it with his aged servant Ambrogio, delivering some of the best physical comedy of the evening, all timed perfectly to the music.” – MetroWeekly

“Baritone Christian Bowers as Fiorello and Matthew Pauli as Ambrogio fill their roles with the utmost capability and delight.” – DC Metro Theater Arts

“One character in a non-speaking role having a big effect was Matthew Pauli, who played the servant Ambrogio.  His character’s sole purpose is quite appropriately adding to the comedy in a silent movie style and he was extraordinarily effective. … If any Marx brothers’ movies get remade, give him the role of Harpo.” – OperaGene

The Late Wedding – April 2017

“Matthew Pauli lends intensity and flair to sundry characters (a sinister Spy, a disconcertingly gossipy spaceship Captain, etc.)” – The Washington Post

Merchant of Venice – November 2016

“Leading the pack is Matthew Pauli as Shylock, whose depth and theatrical experience come through in portraying this complex character… Even while masked, Pauli brings a personal touch to the infamous Shylock through his vocals and physical positioning that relay his strength, stubbornness, conceits and flaws.” – DC Theatre Scene 

“Matthew Pauli leads the show as Shylock and brings a lovely goofy charm to the character without making him a caricature. He captured Shylock’s very real and valid feelings in a respectful way.  Pauli commanded the stage with his powerful  presence.” – MD Theatre Guide

Midsummer Night’s Dream – July 2016

“Pauli, who relies heavily on the physical comedy of his costume to engage with the play’s natural vein of humor, brings a unique approach to the mischievous urchin. There is a vague air of a swarthy Captain Jack Sparrow seemingly reminiscent in some of his mannerisms and line deliveries. Making Puck more of a pirate-like rogue, who tumbles about quite literally all across the lawn, serves the show well as it adds laughable humors to the performance in liberal doses.” – Theatre Bloom

“Pauli plays Puck with outstanding energy. He is always running on and offstage, and racing around to follow Oberon’s orders, whether to trick the lovers into regathering together or playfully chasing the fairies. After retrieving the magical flower, he barrels down the hill, “tripping” and landing on his stomach onstage. When retelling how the enchanted lovers are now fighting amongst themselves, he falls to the ground laughing. He can also be wonderfully subdued, as in his speech at the end when he asks the audience for their forgiveness if they have been offended. No forgiveness is necessary.” – DC Metro Theater Arts

Our Town – June 2015

“Matthew Pauli is particularly effective as Narrator/Stage Manager with his sonorous voice and loving command of the players and the audience. The Stage Manager knows every inch of the Corners and describes even the smallest detail with interest and care.” – DC Theatre Scene

“It’s an original spellbinder from the opening moments, with Matthew Pauli (as the Stage Manager) dryly guiding us through Grover’s Corners as the playful ensemble brings the town to life — river, church, everything.” – The Washington Post

Pirate Laureate & the King of the Sea – February 2015

“Matthew Pauli was genius in his role as Captain Grayscale. An excellent performer, he set the comedic tone for the play and was equally amusing as he was dramatic.” – MD Theatre Guide

Duchess of Malfi – July 2014

“…Matthew Pauli’s sinister Cardinal, who exudes a still-waters-run-deep cruelty and competence, even when he is gazing at allies and underlings with stony eyes. In his ecclesiastical garb, with a scarlet sash, he’s an arresting figure.” – Washington Post

“Snyder, Herring, Pauli, and Untalan are as good in this as any actors you’re likely to see at Fringe, even when their characters strain credulity…Pauli’s Cardinal is a mustache-twirler without a mustache, but the actor eschews cut-out villainy, as does Herring’s Ferdinand.” – Brightest Young Things

“As the duplicitous brothers, the Duke and the Cardinal, Herring and Pauli could curdle milk with their evil intent. Pauli, as the godless and lecherous prince of the church, reeked with danger. “ – DC Theatre Scene

“Webster represents the ruling patriarchy in the form of the Duchess’ brothers, the fornicating Cardinal–played with sinister smuttiness by Matthew Pauli, and the manic, manipulative ruling politician, Ferdinand–played with cunning conviction by Brit Herring. “ – Broadway World DC

Rumpelstiltskin – February 2014

Interview with DC Theatre Scene

Matthew Pauli (Rumpelstiltskin), who performs professionally as a clown as well as an actor, moves with skill and grace, and manages to convey evil without unduly frightening the more impressionable members of the audience – a feat in light of the dark story.” – Broadway World DC

“Capering about in a straw cap, Pauli invests Rumpelstiltskin with a fine, sprightly menace. “ – Washington Post

Noises Off – December 2013 

“Amid the commotion, an egoistic director named Lloyd accidentally sits on the aforementioned plant….the gag is ably timed, and the expression of the exasperated Lloyd (Matthew Pauli) splendidly agonized. Acting, movement, stage business and even lighting come together — making this bit of comedy as sharp as those cactus needles are evidently meant to be.”  – Washington Post

“Pauli’s ability to become highly agitated and flabbergasted are an honest hoot. Relying more on wordplays and the vocal nature with which he addresses members of his cast, Pauli takes everything extremely serious which makes for an even funnier scene to behold, especially when he first descends onto the stage from somewhere in the real house audience. His spastic interruptions during Act II only adds to the calamity and keeps the audience in stitches every time he erupts.” – DC Metro Theatre Arts

“…the cast here is very much on top of things, led by the very entertaining Matthew Pauli as the irascible Nothing On director Lloyd Dallas. “ – DC Theatre Scene

“Lloyd the Director (Matthew Pauli) captures the exasperation of plans gone wrong in a curt, snooty style, oftentimes in stunned silence.” – MD Theatre Guide

Act A Lady  – July 2013

“The three men take to their roles earnestly as they work on their female selves. We see Miles (Matthew Paul), a family man who has convinced his troubled, god-fearing wife (a forthright accordion-playing Toni Rai Salmi) of their plan… His haughty Duchess proves over the top and quite demonic as she wails across the stage, to the horror of his wife. “  – MD Theatre Guide

“All of the cast members are excellent, although the men get the larger roles.  Pauli and Zimmerman are funny as the hairy-chested rival ladies wearing fancy gowns in the absurdly melodramatic French “play within a play.” – DC Theatre Scene

The Lady Becomes Him  – April 2013

“In donning the classical leather mask of the character, Matthew Pauli makes it truly come alive with its puggy dog nose constantly sniffing the air for possible infidelities and the wild, white eyebrows and whiskers fluttering indignantly. His pedantic doctor is both hopelessly silly and memorable.” – DC Theatre Scene

“Matthew Pauli’s Dottore also deserves mention. Of all the masked actors in the The Lady Becomes Him, Pauli seems to have gone the farthest in drawing his character out of his mask. In his first appearances in the window of his home, Pauli’s Dottore was so animated – so Muppet-like – that I almost expected to discover that Dottore was a puppet, an Italian ancestor of Cookie Monster from before the family emigrated to Sesame Street.” – DC Metro Theatre Arts 

“ Also enjoyable are Pauli’s blustering Il Dottore — who sports absurdly bushy eyebrows — and Jesse Terrill’s gently impish version of Coviello, Orazio’s servant.” – Washington Post

The Pirate Laureate of Port Town – February 2013

“The show is anchored (pun intended) in true piratical fashion by Matthew Pauli as its blustery, half-witted Captain Greyscale, whose good ship Chartreuse skims the waves with an improbable crew that is one part Gilbert & Sullivan and two parts Princess Bride.” – Broadway World DC

“Matthew Pauli (Captain Greyscale) seems to be fulfilling a life-long dream to be a pirate judging from the complete joy on his face as he delivers every line. He also plays a mean mandolin. Their relationship is at the heart of the play and they’re a great pair, both for the gags and the quieter moments.” – DC Metro Theater Arts 

Metamorphoses – May 2012

“As the incestuous lovers Cinyras and Myrrha, performers Matthew Pauli and Megan Dominy embrace while up to their waists in H2O. As the famished Erysichthon, Pauli snuggles up to the pool edge and, laboriously propping his foot on dry land, positions a knife and fork as if he’s about to dine on his own flesh.” – Washington Post

“…Aphrodite teaches her a lesson by making her fall desperately in love with her father (Matthew Pauli, commanding in a variety of roles). “ – DC Theatre Scene

Blood Wedding – February 2012

“When the lights come up, Death, impersonated by an ominous, stone-faced Matthew Pauli, stands center stage, softly playing a ukulele. Death, who is biding his time, often grinning, even leering, stalks with a cane through just about every scene and takes delight in lovers’ quarrels and family friction.  It’s a directorial choice; a Shirley Serotsky innovation and the message is clear. Death surrounds us everywhere. “ – DC Theatre Scene

“There are gorgeously chilling images, however, and Matthew Pauli’s Death is a thing of primeval terror. Whether silently stalking the action or slowly becoming a skeletal death’s head before our startled eyes, that presence lives most fully in Lorca’s world.” – We Love DC

“Matthew Pauli, our narrator in this translation, is an eerie personification of death, his bug eyes and rictus grin gleaming beneath his black hat and veil as he circles the human characters like a guardian angel gone rogue.” – Washington City Paper

Cabaret Macabre – October 2011

“All of the role-juggling performers — including Matthew Pauli and Gwen Grastorf — prove themselves to be adepts of the deadpan, the sidelong glance, the freeze and the pregnant pause” – Washington Post 

“Matthew Pauli ably portrays a child—depicted as a faceless doll atop a white rocking horse—literally scared to death during a hellraising ride through the woods with his father that is set to Franz Schubert’s “Der Erlkonig” with Brothers Grimm-like text by Johan Wolfgang von Goethe.” – DC Theatre Scene



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