Broadway World Review

The deepest and darkest of these truths abides in the relationship with Allison’s father, Bruce (Rusty Ferracane, more brilliant and compelling than I have ever seen him), an imperfect perfectionist who is into restoring his immaculate home.

YabYum Music + Arts

Rusty Ferracane’s portrayal of Alison’s father Bruce is inspired. He is the show’s most complex and flawed character. A broken man so ashamed of who he is that it breaks him. He is a teacher, a father, a mortician, and a madman. Ferracane develops each layer so the incongruences feels plausible.

Broadway World

Ferracane commands the stage with a knightly prowess befitting his characters ~ as Miguel de Cervantes, a tax collector imprisoned for foreclosing on a monastery, and then as the knight errant of the woeful countenance in the play within a play.

Ferracane is so utterly believable that, as he gazes beyond the horizon, one senses that he really sees the impossible dream becoming fulfilled. When his Quixote storms at windmills or idealizes a lusty barmaid into the beatific Dulcinea, he acts not as a pathetic buffoon but rather as the credible, albeit unsteady, champion of chivalry and valor. Despite exhortations to "come to terms with life as it is," the knight errant opts to "lay down the burden of sanity and engage in a quest "to right all wrongs" ~ and Ferracane embodies Quixote and his mission wholeheartedly. His vocal range is faultless. He does more than sing the words of Mitch Leigh and Joe Darion's memorable songs; he channels their meaning and intention so that they may literally bring a tear to one's eye.

Curtain Up Phoenix

As the challenged father, Bruce, Rusty Ferracane gives a performance of great range as he beautifully conveys this unique person. 

David Appleford's Theatre Reviews

...And that brings us to Rusty Ferracane who time and time again has delivered a standard of performance in valley theaters that rarely fails to elevate an okay production into something quite special.  Here as Don Quixote, Ferracane has a role tailor made to both his tall, lean, angular appearance and to his outstanding singing voice.  The Impossible Dream is the show-stopper you want, but there’s something more.  Author Wasserman gave his de Cervantes a glorious speech describing life as it should be and not as it is, and Ferracane delivers it with all the deepest, heartfelt emotion the moment requires.  Don’t be surprised if you’re suddenly reduced to tears.  It’s that good.

Talkin Broadway.com

Review of "That's Life" CD:

Sure, the full-length version of the album-titling "That's Life" is kind of fun as Rusty Ferracane sings with gusto and with a band, back-up vocals and an approach that salutes the old Frank Sinatra hit record. But it's the tender, slower, one-chorus a capella version opening the CD that takes the beauty prize. "Less is more" has rarely been better illustrated. Sincerity is this man's strong suit. A long history of theater roles in Arizona where he lives and teaches includes Man of La Mancha and he includes a conservative swipe at its iconic statement, "The Impossible Dream (The Quest)." However, his nuance-challenged phrasing and uninspired accompaniment somehow don't have the emotional investment that some of the other selections demonstrate. Like everything here, it is earnest and unpretentious. Much more successful is the imaginative and more energetic ownership of the Gershwins' "I Got Rhythm" that is filled with variety. It surprises with opportunities to be pretty and shows some humor, too. Some tracks feature judicious use of cello, flute and other instruments. A toast to the saxophone playing by Hughie Lovelady, who worked with Frank Sinatra, that greatly enhances the saloon swoon of "One for My Baby (And One More for the Road)." Best of all, and most worthy of cherishing, are three songs from three different musicals composed by Craig Bohmler, who is also on piano and did the arrangements. Rusty was in the New York premiere of Enter the Guardsman and presents a thoroughly rewarding and high-class rendition of the score's delightful "Art Imitating Life." He is just perfect interpreting Marion Adler's refined lyric. The same songwriting team's "Once Upon a Time" from an unproduced musical is sensational - a real find that builds and builds as it tells its story. As the music and drama rise, Rusty rises to the occasion and nails the key moments. "Write Her" (Craig Bohmler/ Mary Bracken Phillips from The Haunting of Winchester) is dramatic and full of pleading, but never becomes plodding. A gentle soul comes through on this CD, and plenty of integrity, too. Oh, and there are some lovely, unforced high notes - the head tones have heart. It's a pleasure to spend time with Rusty Ferracane. - Rob Lester

KBAQ Radio

In "The Night Larry Kramer Kissed Me":

The performance lets Ferracane show his brilliance as an actor as he pulls us into the gay world of this man.  There are poignant moments, there are brutal moments, and there are moments of joy.  Ferracane is always perfection.

Arizona Republic

In "The Night Larry Kramer Kissed Me":

Ferracane switches effortlessly from child to adult, hitting the right emotional notes yet never descending into stereotype as he transforms a boy innocently aroused by the male dancers in West Side Story into a man angrily proclaiming his gay pride in the streets.

Phoenix New Times

In "Man of LaMancha":

Rusty Ferracane dominates the production.  In the title role, he's suitably hammy, but brings some style to Quixote's regal, exaggerated stance which is usually played for laughs.  The result is a less clownish and therefore more sympathetic Quixote.