Endlings
New York Theatre Workshop
“Stagehands whisk away the lovely seaside set, leaving us in a drab Manhattan apartment with Ha Young and a man (Miles G. Jackson), who wears a placard identifying him as her “white husband (also a playwright).” She’s just shown him the script for the play that we’ve been watching, and although he’s blandly encouraging, he doesn’t seem to like it much. Ha Young wants him to be jealous, because isn’t your partner’s creative envy confirmation that you’ve made something truly worthwhile? (No, but this sophomoric marriage isn’t a subject the play is interested in exploring.) “Me being jealous of this play would mean being jealous of who you are, which I’m not,” White Husband tells her. He’s getting at something real, and in a rush Ha Young tells him what it is…”
— Alexandra Schwartz, The New Yorker
“Eventually, such concerns fully take over Endlings, turning an intriguing ethnographic drama into a wacky sketch-comedy revue featuring Ha Young's White Husband (Miles G. Jackson), identified with a placard he wears around his neck that says ‘WHITE HUSBAND (ALSO A PLAYWRIGHT)’ on it.”
— Kenji Fujishima, Theater Mania
“It’s a fascinating contraption presented for us to unpack, even as the White Husband (and fellow playwright), lovingly portrayed by the very game Miles G. Jackson (‘The Last O.G.’), is identified and labeled before us for our intricate inspection.”
— Steven Ross, Times Square Chronicles
“It starts with Song and her White Husband–he wears a sign, 'White Husband, also a playwright’–debating what we’ve seen so far. The husband’s sign is a wonderful misdirect. He is clueless about haenyeos, of course, but he’s not just a gag. He meets Song’s uncertainty about her work with a brutal honesty.”
— Joey Sims, Exeunt NYC
“‘So good / it’s great / I love it,’ says her White Husband after reading the play. His propitiating tone betrays a lack of understanding that will no doubt be echoed by many in the largely white, affluent, and elderly audience at New York Theatre Workshop. Song is entirely conscious of this.”
— Austin Yang, New York Theatre Guide
In Reality
Lumanova Pictures
“Made for peanuts, the project began life as a short that morphed into a digital series, then a feature; its highly subjective, style-hopping approach masks those episodic origins, making for a cohesive picture that, though certainly not for everyone, feels like an honest personal statement….When an aunt arranges a blind date, life seems to finally be delivering what Ann expects: Bespectacled, tousle-haired John (Miles G. Jackson) shares all her interests and opinions; they're making ‘we're the same person’ jokes before the night is through, and soon flirtation leads to bed.”
— John DeFore, The Hollywood Reporter
“Lupo engages as an unlikely leading lady in a peppy story that follows a budding, self-effacing Brooklyn filmmaker — also (remarkably!) named Ann Lupo — trying to fathom how she landed in the friend zone with the adorable John (Miles G. Jackson) after several hot dates and what seemed like an undeniable emotional and romantic connection. Think “When Harry Met Sally” in reverse.”
— Gary Goldstein, Los Angeles Times
“Playing herself, Ann decides to create an autobiographical film centered around her relationship with John (Miles G. Jackson), a love interest who isn’t quite as into Ann as she is in him. Dreamy and refined, John is the textbook definition of a perfect guy, but his greatest downfall is his obliviousness to his charms. John is simply a nice guy who strings Ann along.”
— Adriana Gomez-Weston, CC2K
“First and foremost, “In Reality” is a romantic-comedy, but it takes a meta-fictional slant. We follow Ann, portrayed by the writer-director sharing the same name, who states the purpose of the movie clearly to her unrequited love, John, portrayed by Miles G. Jackson, that she wants to make a movie about how she can’t get over him romantically. Staring back is the Andrew Garfield-like John, who doesn’t quite know how to process this revelation.”
— Jimmy Hall, PT Leader
Hand to God
TheaterWorks Hartford
"[Lisa Velten Smith's] scenes with Miles G. Jackson are really funny. Speaking of, Mr. Jackson does a good job playing whiny bad-boy Timmy, and is particularly funny during a dangerous run in with Tyrone. "
— Joseph Harrison, Broadway World
"Mr. Jackson gives his Timothy a youthful swagger layered with a fragility which is both funny and sad. His amorous feelings for Margery are overt and comical."
— Elizabeth Young, The Newton Bee
"Jackson's juvenile delinquent has the bad boy bravura down pat and his lewd observations can change in a blink to little-boy-lost mamma's boy."
— Tom Holehan, CT Post-Chronicle
Typhoid Mary
Barrington Stage Company
" Miles G. Jackson is particularly persuasive as a young, intelligent, and sympathetic priest who is so disturbed by his experiences with Mary that he eventually leaves the church..."
— Helen Epstein, ArtsFuse
"Mallon is visited, often, by a Catholic priest, Father Michael McKuen, played softly and sweetly by Miles G. Jackson...Jackson plays tolerance and understanding beautifully and as he transforms into a more humane human through this friendship Jackson shows us, practically step-by-step, how one person can be altered through the closeness of the intellect.
— J. Peter Bergman, Berkshire Bright Focus
"As Father McKuen, a sweet, earnest young priest, Miles G. Jackson embodies another of the play’s oppositions between faith and reason."
— Chris Rohmann, Valley Advocate
Miss Bennet: Christmas at Pemberley
The Repertory Theatre of St. Louis
Interviews
"Miles G. Jackson delivers a brilliant performance as the awkward and bookish Arthur...There is an instant connection between he and Mary that neither seems to notice at first, but from his shy demeanor and his tentative steps (literally), he soon wins over the audience with his good looks to his ungraceful and continual bowing..."
—Steve Allen, Stage Door St. Louis
"As portrayed by Justine Salata and Miles G. Jackson, Mary and de Bourgh are irresistible. By no means mere substitutes for Elizabeth and Darcy, they are vivid, endearing characters on their own...Lanky Jackson, on the other hand, is all over the place, a kind of cute string puppet in gorgeous Regency attire.
...Mary and de Bourgh (who was invented by the playwrights) assume roles we did not know were missing. They were."
— Judith Newmark, St. Louis Post-Dispatch
"Miles G. Jackson presents Arthur as a gangly, cautious man, and his full physical comedy is brilliant and hilarious."
— Shannon Cothran, KDHX
"Miles Jackson charms and entertains in glorious fashion throughout as the bumbling but kind-hearted Arthur. His awkward albeit sincere efforts to converse with the intellectual and extremely practical Mary are enchanting and humorous in his highly polished performance, which is epitomized by his entrances and approaches to other characters, always filled with trepidation."
— Mark Bretz, Ladue News
"...Arthur de Bourgh is very nicely portrayed as a virtual bookend to Mary by Miles G. Jackson, if even more comically hapless in his endeavors."
— Chris Gibson, Broadway World
"Jackson is, quite simply, a wonder. Arthur is awkward, smart, unsure of what's ahead of him...He's absolutely fabulous to watch, even his footwork during conversations."
— Ann Pollack, St. Louis Eats and Drinks
"Miles G. Jackson is Lord Arthur de Bourgh, the unlikely romantic pairing for Mary, although both are so inept at such matters you'll wonder how it will ever come about. (But when it does, it's a moment you will want to stand up and cheer!)...His penchant for bowing is reflective of an innate sense of self-loathing and uneasiness that is highly comical."
— Harry Hamm, KMOX (CBS)
"(Justine Salata is) well-matched by Jackson's highly physical, amiably awkward portrayal of Mary's unlikely suitor Arthur de Bourgh. Their chemistry is delightful and, shall I say, adorkable."
— Michelle Kenyon, Snoop's Theatre Thoughts
Mama's Boy
George Street Playhouse
“Jackson (returning to George Street after a stellar turn as the title character in ‘My Name is Asher Lev’ last season) is particularly strong in the second act, when Rob must become the head of the family and do everything he can to protect and support his mother despite his overpowering urge to abandon her.”
— Patrick Maley, NJ Advance Media
“As Robert, Miles G. Jackson’s wonderfully unmannered performance shows the anguish of a less-loved child.”
— Peter Filichia, Broadway Select
“Miles G. Jackson, who made a stunning debut at George Street last season in the title role of ‘My Name is Asher Lev,’ plays Robert Oswald as the most stable character in the play.”
— Charles Paolino, My Central Jersey (USA Today)
Tribes
Barrington Stage Company
“Miles G. Jackson brings so much intensity and pain to this role that he seems, through the course of the evening, to actually melt away before our eyes, to dwindle into a person disappearing from view. It is a performance to remember, for it is so amazingly wrought that it feels like eavesdropping every time he has a scene to play.”
— J. Peter Bergman, The Berkshire Edge
“...’Tribes’ is a fascinating piece of theater that is brilliantly acted by a talented cast...”
— Bob Goepfert, The Troy Record
Harry and the Thief
The Habitat/Robert Moss Theater
“...Orry Main (Miles G. Jackson) — a slave owner with such delicate Southern sensibilities that he seems perpetually a whisper away from an attack of the vapors...”
— Laura Collins-Hughes, The New York Times
My Name is Asher Lev
George Street Playhouse
“...Jackson dominates the stage, running Lev through a seemingly limitless gamut of emotional registers.
...(Bob Ari and Lena Kaminsky) seem aware that they must be at their best to complement Jackson. It is as though Jackson is a maestro to a three-piece orchestra demanding as much passion from the others as he gives himself. The results are stunning.”
— Patrick Maley, The Star-Ledger
“Jackson is, as Potok himself might have said, a true gift! The role of Asher spans his life from age three through his twenties. Jackson captures the all of the emotions of a young man who is at first surprised by his interest in art and later frightened by a much stronger and undeniable obsession. His handling of innocence, imagination and acceptance, makes Jackson’s portrayal a theatrical triumph!”
— John Kazmark, New Jersey Hills
“Jackson, a really gifted actor, plays Asher Lev (his voice is a dead ringer for that of actor Aaron Paul, co- star of the hit television series Breaking Bad). From the first moment you see him on stage until the very last, this is Jackson’s show. He gives a masterful performance as an observant Jew who must, just must, become an artist.”
— Bruce Chadwick, History News Network
“There are only three actors, and all do well with the chameleon-like changes demanded of them. Miles G. Jackson, as Asher, has to take his character from childhood to adulthood; it’s no easy task to seem like you’re 6 years old when you’re really an adult, but Jackson makes it work. ”
— Jay Lustig, NJ Arts
“Jackson...acquits himself like a veteran in this demanding role. He evokes the passion and the anguish of Asher Lev so well, and with such intimacy, that the audience never tires of him, can’t get enough of him — although he is on stage almost the entire 90 minutes and is speaking for the bulk of that time.”
— Charles Paolino, My Central Jersey (USA Today)
“Miles G. Jackson captures the demanding role of Asher Lev. His portrayal is heartrending, at times humorous, but always completely authentic to the character of the budding Jewish artist.”
— Marina Kennedy, Broadway World
“The three-character play never wavers, especially the sterling performance by Miles G. Jackson.”
— Liz Keill, American Theatre Critics Association
“One of the joys of being a theater critic—or devoted theatergoer—is watching a star being ‘born,’ which is exactly what happens at the George Street Playhouse, where the young Miles G. Jackson plays the title role in My Name is Asher Lev... in such a masterful performance that it can only be called a tour de force.
...Jackson is riveting as Asher Lev, his sing-song delivery perfect for a boy who has been brought up chanting Torah trope all day in school, while exuding a burning desire to produce art.”
— Ruth Ross, NJ Arts Maven
4000 Miles
Capital Repertory Theatre
“Leo, played with a loose, natural ease by Jackson...
...Jackson is perfectly cast as Leo, capturing the arrogance and sweetness of a man on the cusp of adulthood who sometimes still feels like a kid.”
— Steve Barnes, Albany Times Union
“Miles G. Jackson’s greatest accomplishment is that he plays Leo’s indulgent nature and the inertia that consumes the character without becoming a negative presence. Jackson creates that type of person who has just enough positive qualities that you like him despite of his flaws. It’s nice disciplined work.”
— Bob Goepfort, The Saratogian