The Grapes of Wrath, Connecticut Repertory Theatre

“Steven Fales’ tall, lean and tightly coiled performance as the feisty Tom Joad looked like a Dorothea Lange photograph come to life with dramatic dimension.” The Hartford Courant

The Pirates of Penzance, Connecticut Repertory Theatre

“Steven Fales, as Frederick, the lad ending his hated piratical indentures measures up strongly to Carnahan’s Ruth, and then to the trilling of the petite, adorable Emily Loesser as Mabel. Looking a bit like Erroll Flynn in the first bloom of youth, Fales projects a fine, secure tenor and blends naivete and dash in a performance very different from his impressive Tom Joad in ‘The Grapes of Wrath’. Adam’s rolling trio with Fales and Carnahan lifts the scenes in Tiala’s picture-book ruined chapel to musical and comic high points.” The Hartford Courant

“It is difficult to single out any among this cast for special recognition, although Steven Fales, as Frederic, and Kirsti Carnahan, as Frederic’s love-stricken nursemaid, Ruth, were especially powerful and polished in their roles.” Norwich Bulletin

“Fales (last seen as a very good Tom Joad in ‘The Grapes of Wrath’) is earnest as the young, driven Frederic.” Journal Inquirer

“Steven Fales—recently seen as Tom Joad in ‘The Grapes of Wrath’, does his campy best as Frederic, the naïve, honor-bound, and newly ex-pirate.” WHUS, Storrs

Dancing at Lughnasa, Connecticut Repertory Theatre

“The re-appearance of Michael’s father, Gerry (Steven Fales), and his bittersweet reunion with Chris stands as the clearest example of the unholy collision between reality and dream. The acting is stellar throughout.” Journal Inquirer

Hair, Connecticut Repertory Theatre

“Steven Fales is the flamboyantly gay Woof (his ‘Sodomy’ is a howl).” Journal Inquirer

“The dancing, with the conspicuous exception of Steven Fales, was not terrific.”, WHUS, Storrs.

The Merry Wives of Windsor, Connecticut Repertory Theatre

“Other highlights . . . Steven Fales as Caius, the foppish French doctor engaged in one of the play’s subplots: the wooing of Mistress Page’s daughter, Anne.” Norwich Bulletin

“Richard Ruiz and Steven Fales share the glory for the most comedic performance. In the hammiest Shakespearean role of all, Richard imbues Falstaff with the right mixture of gullibility, lechery, bravado, and menace, while Steven keeps the impossibly pompous, demanding, and conceited French physician, Dr. Caius, just this side of over-the-top.” WHUS, Storrs

“Steven Fales has some wonderful moments as Caius, the pompous doctor with the faux-French accent, who waves and flourishes at every opportunity. And he and his servant, John Rugby (Matthew T. Heron) make some great exits.” Journal Inquirer

“Fales, always strong in CRT productions, adds an over-the-top pompous French accent and some skillful touches to his role, turning a simple command to his servant, ‘Follow my heels,’ into a showy exit.” Norwich Bulletin

The Boy Friend, Utah Shakespeare Festival

“Everything twinkles—particularly the hearts of Polly and Tony delivered magically by Victoria Adams and the Astaire-evoking Steven Fales.” Salt Lake Tribune

She Loves Me, Connecticut Repertory Theatre

“Ritter and Fales rhumba well together in Ilona.’” Journal Inquirer

“’She Loves Me’ garnered only one Tony Award for Jack Cassidy’s featured role as the slick womanizer Kodaly. Uconn’s Steven Fales, who attracted notice several years ago as Tom Joad in ‘The Grapes of Wrath’ and, more recently, in Shakespeare with other repertory theaters, easily challenged Cassidy. Deceptively debonair, he sang, danced, and acted with captivating devilry.” The Hartford Courant

King Lear, Connecticut Repertory Theatre

“For the pure sensuous embodiment of evil, the performance of MFA candidate Steven Fales, as Gloucester’s bastard son Edmund, alone is worth the price of admission. It is a mature, mesmerizing characterization. Mr. Fales has presence, and a future.” Norwich Bulletin

Death of a Salesman, New Harmony Theatre

“Also excellent is Steven Fales as the younger son, Happy, who is his father’s son in more ways than one and destined to follow in those self-deluded footsteps.” The Evansville Press

“As Willy’s younger son, Happy, Steven Fales was the amiable embodiment of all of Willy’s own lies and ambitions.” Evansville Courier


The Boy Friend, University of Nevada, Las Vegas

“Steven Fales, who plays her on-and-off boyfriend is a charming addition to the play. His enthusiasm makes their duet, ‘I Could Be Happy With You,’ a real winner.” Las Vegas Sun

“Steven Fales plays the innocent English messenger, who falls in love with Polly. They have an attractive sequence together called ‘A Room in Bloomsbury.’” Las Vegas Review Journal

Broadway in Concert, Brigham Young University

“Steven Fales’ partnering with Crowther and Morgan in ‘Steam Heat’ is notable.” Daily Herald

The Most Happy Fella, Brigham Young University

“In the strongly sentimental ‘Joey, Joey, Joey,’ Joe (Steven Fales) clearly establishes his character as a handsome, nomadic rambler who feels the wind speak to him, “like a perfumed woman,” telling him that its time to move on.” Herald Reviewer


Solo Performance

"Steven Fales shocking true story keeps you mesmerized and in suspense. It fixates you in a roller coaster of emotions and is the 'Me Too' movement of gay Mormons." (Mormon Boy Trilogy, Bay Street Theater 2018)


“A true story, Fales’ life is the stuff of great theatre. Fortunately, the former Mormon boy with the penchant for singing has an easy and refined stage presence, making his tale all the more riveting to watch. Fales’ story would not be as interesting or even novel without the remarkable transformation he undergoes from Utah husband and father to New York City prostitute. It’s a strangely intriguing dichotomy that Fales expertly brings to the stage; in a sense, he is reliving his own Madonna-whore complex. Were it not for Fales’ decision to divulge all the sordid details of his past in such a painfully honest way, though, the show may not have worked as well. The lingering sense of an unresolved story gives the play a depth that it may not appear to have at the outset. Fales has a buoyant personality that easily engages an audience, and director Jack Hofsiss keeps the pacing brisk and the staging lively.”


“Wrenchingly honest, hilariously jubilant and utterly clear-eyed, Steven Fales’ autobiographical testimony is an exceptional achievement to rank beside the best of the solo genre. We first see Fales, whose buffed physique, glossy voice and gimlet gaze are ready for Shakespeare and Sondheim . . . Fales never reviles himself or the religion he loved, nor does he let either off the hook. His narrative is richly absorbing in its immediacy. The motifs are shrewdly developed, and the climactic revelation is a hair-raising coup. You’d have to go back to Leslie Jordan and Jeff Key, or Geraldine Hughes and Julia Sweeney, to find such deeply personal material attaining so wide a reach. That accessibility distinguishes Confessions, and it’s a memorable soul-baring session.”

LOS ANGELES TIMES, David M. Nichols, Critic’s Choice

“Fales is such a perceptive writer. An enormously appealing performer, his struggle to make his life cohere is as moving as it is funny.”



Mormon Boy rises above formula through faith. Staying away would be a mistake. An uncommonly powerful, gripping, and very moving piece of theatre. It’s far, far better than you’d guess. It’s unusually well-written and shaped. Fales is not only an actor, but also a very good one. And, onstage, he is both provocative and intensely empathetic. As with Elaine Stritch, Fales’ life simply went further to the extremes than most. And thus it’s more dramatic. Fales does not do a hatchet job on the Christian Right in general, or on the Church of Jesus Christ of Latter-day Saints in particular. On the contrary, he’s unafraid to reveal that his alienation from his initial identity—his spiritual core, still—is what ripped him apart. Along with some truly wrenching scenes involving issues of fatherhood and childhood vulnerability, this palpable sense of spiritual longing is what makes this show so remarkably powerful. Just as he deserves personal happiness, he also merits a professional chance at the big time, in all its glory.” (Confessions)


“An eye for absurdity can take you a long way: The work of the engaging solo performer Steven Fales is a case in point. A keen sense of the ridiculous—displayed in telling narrative details, some droll characterizations and a wealth of verbal zingers—leavens his powerful Mormon Boy. Confessions best exemplifies Fales’s flair for writing that shifts with artful boldness between levity, bleak drama and warmth. A rare artistic commodity: a stand-up-comedy-infused autobiographical epic containing chapter after chapter of absorbing spiritual and personal crisis, sly cultural commentary and humor.”


“If Fales hadn’t subtitled his show ‘A True Story’, you might be tempted to think he’d made it up, because it moves so dramatically between extremes. It’s not just the subtitle, though, that underscores the truth of Fales’s story. It’s his remarkable ability to show us the extremes without getting stuck in them. He retains an astonishing generosity of spirit about both worlds. It’s rare to hear someone speak so passionately about both spiritual and physical ecstasy. Without excusing bigotry and hypocrisy on the one hand, or exploitation and deceit on the other, he still persuasively declares that good people can exist even in the most oppressive situations. That might sound a little preachy, but Fales mostly leavens his lessons with fierce comedy and sharp intelligence—which, to his credit, he directs not just against obvious targets, from a humorless church elder to a jaded pimp, but against his own self-absorption and self-deception. We laugh, both because it’s funny and because that very self-awareness is what makes the script’s occasional wanderings into solipsism or inside jokes both believable and forgivable. The show also steers clear of some potential pitfalls. The final startling, and yet utterly appropriate revelation that Fales makes onstage . . . no, he doesn’t bare his [full-frontal] body. He bares his soul. And, even if that soul is one that his church has condemned, it still feels like a sacred gift.”

BOSTON GLOBE, Louise Kennedy, Critics’ Pick

“The tale's fascinating and Fales is engaging. Excommunication may keep the boy out of the tabernacle, but it can't keep the tabernacle, spiritually speaking, out of the boy. Fales personable and sexy makes the tale easy to take, a sort of story hour for grow-up children, telling a quintessentially American once-upon-a-time of sexual identity crisis and selfhood.” (Confessions) 

VILLAGE VOICE, Michael Feingold


“What a rare and skillful thing is Confessions of a Mormon Boy, Steven Fales’ engrossing, funny, and often quite harrowing tale. Fales’ tumble from grace and his road to redemption peg him as the male counterpart of the fallen woman . . . think Joan Crawford or Bette Davis playing outcasts at their most glamorously vulnerable. He’s a male Mildred Pierce, except that it’s real life. With crackerjack direction by Broadway veteran Jack Hofsiss, Fales delivers the dramatic goods with considerable economy, crisp pacing and, in the end, a simple gesture of self-revelation that’s as effective a coup de theatre as you’ll find in a dozen shows jam-packed with special effects. Best of all, we don’t see Fales’ ultimate moment of catharsis coming; it hits us between the eyes like a shot with a two-by-four. Fales is such a good mimic, capable of vivid and hilarious impersonations. Fales has lived a stunningly eventful, almost Dickensian life, and he is, by happy coincidence, a fine writer and actor. Let him make the most of it.”


“A story that must be told! One of the best new plays . . . seen in a very long time. Fales is an endearing performer, a masterful storyteller, and one hell of a writer. Throughout the play, his belief in god and his desire to be ‘good’ make him an extremely compelling hero. Evocative detail, humor and moments of spellbinding drama . . . great theatre . . . sexy and harrowing. A play that transcends religion, gender and sexuality. Anyone who has ever lived a life they thought they should live, as opposed to the life they were meant to live, needs to see this show.”


“Compelling confessional theatre. Fales knows how to sell it.” (Confessions) 



“Captivating. Intriguing. Fascinating.”

NY1 ON STAGE, Patrick Pacheco

“Fales’ one-man show manages to inject some freshness to the genre. Performed by its fresh-faced author with an enthusiasm and energy that makes his self-comparisons with Donny Osmond seem apt. This colorful tale is related with much brio by Fales, who strips himself bare, both emotionally and physically. He’s an engaging performer who’s crafted his piece with an audience-pleasing sensibility. Fales’ journey may have been a difficult one, but it sure makes for some great material.” (Confessions)



“Just when you thought the gay coming-out tale had exhausted itself, Steven Fales’ solo show gives it a twist with the perspective of a Brokeback Mormon. Fales is eminently likable and can be winning in his considerable force of charm. The show gets a blast of lyricism with his account of a dream that had him galloping on horseback over the Western land along with his male ancestors . . . that shows the soul behind the smile.” (Confessions)



“Fales’ play is a gripping hybrid of memoir and theatre. Confessions could have been maudlin and self-pitying but Fales sees the black comedy of his predicament and also allows us to share the rage he felt at the Catch-22 of being ‘excommunicated for something the Church said didn’t exist.’ It succeeds as non-fiction theatre thanks to the writing and acting talent of a true survivor.”


“A triumph. What elevates this autobiographical one-man show to the next level is that it probes deeper. Appealing from the beginning: a good-looking, well-built man with the smooth voice of a trained actor, which he is. There’s a lot of ground to cover. Fales and director Jack Hofsiss keep things bouncing along quickly. Dramatic moments start to fly by. That is part of his point. Mormonism, he explains, teaches its followers to smile and press on despite the underlying pain and Fales takes an analogous approach here. His intentions become clearer at the play’s jolting climax, when the story takes a fascinating turn just as it is starting to drag. Fales knows that the conflict in his life isn’t just homosexuality versus Mormonism. As in all good theater, the protagonist must confront his own shortcomings and overcome them.”

NEWSDAY, Zachary Pincus-Roth

“Intriguing, affecting, and enlightening. The story couldn’t be more timely.  Fales is undeniably charming, his boyish good looks easily metamorphosing from clean-cut exuberance to flirty suggestiveness. He can sing . . . pleasantly crooning a Portuguese prayer or one of his own country ballads. He can dance. And he narrates his tale with comfortable ease and well-honed comic timing. ”


“Unflinchingly honest . . . wistfully comic . . . a compelling play. In many respects, it feels like a sequel to Good-bye, I Love You, from the husband’s perspective and a generation removed. Fales is a fine singer and an engaging actor. He bursts with creative enthusiasm. [An] enormous achievement . . . the way he performs his Confessions proves to be a therapeutic and unflinchingly honest experience.” (My Mormon Valentine, 2001)


“An absorbing tale about the universal human search for belonging. Gay or not, Mormon or not, it is something we can all relate to.” (Confessions, 2004)



“Swings from poignant to harrowing. Compelling. The strapping Fales, who wrote the 90-minute one-hander, is an engaging actor-singer with a mega-smile. It is that smile, actually, that acts as a metaphor for his travails. In the evening’s most shocking moment, he literally and figuratively removes an impediment to his true self. Fales is charming, telling his tale with humor and stamina. Under Jack Hofsiss’ energetic direction, the evening has a definite dramatic arc.”

BACKSTAGE, David A. Rosenberg

“More than anything Steven Fales is a storyteller. Fales is asking a lot of his audience to attend three consecutive nights or spend an entire Saturday for a marathon, but it’s worth it. Each of the three solo performances of Mormon Boy Trilogy is revelatory, exposing not only Fales’ own fascinating life, but mysteries of the Mormon Church as well. Using the same setting each night — a modest wooden chair and a small table, and on some nights a coat rack — Fales bares his soul and his body. Projections of photographs from Fales’ life and auxiliary images to enhance his anecdotes have been incorporated into all three performances.” (Mormon Boy Trilogy)


“All three of these shows are masterfully crafted and executed, and Steven Fales is truly a force to be reckoned with in this vast world of theater.”


“Fales boasts a kick-ass tenor voice, a charming stage presence, sharp wit, irreverent sense of humor, and a beaming smile that makes Fales a favorite!” (Mormon American Princess)


“Fales possesses a beautiful lyric tenor, perfectly suited to his very theatrical delivery. The musical numbers matched his narrative with great dramatic effect. A confident self-realized cabaret performer.” (MAP)


“Stevens voice commands and dominates—flawless and engaging. His stage presence and delivery transcend the self-centered pleadings. The humor in his compositions is clever and incisive.” (Mormon American Princess)


“Steven Fales is a dream come true for gay rights advocates: provocative in his work, articulate and humorous onstage, and appealingly handsome in person. Mormon American Princess is a crowning moment.” 


“Showtime, Broadway, and HBO all rolled up into one great big evening of song and laughter. MAP is exuberant and supremely entertaining.” (Mormon American Princess) 


“His willingness to literally strip away his own defenses will leave you breathless.” (Confessions)


“Theatrically, comically and emotionally, this show reaches heights that most off-Broadway productions could only hope to achieve. You will walk out of the theater feeling completely and utterly satisfied.” (Confessions) 


“At once provocative and uplifting. Fales may be a social provocateur, but his ultimate concern is healing. Fales is a superb technician who does skillful impersonations of the various characters he encounters along his journey. Unlike Leslie Jordan, Fales is not an outrageous comic show-off. He’s more ironic, though. He’s beefier. And he has a few surprises about courage that will endear him to audience members. By the end of his unflinching self-examination, Fales has gained his family’s forgiveness, reclaimed his gift as an actor and found peace with his role as a dad. This is a tale about finding redemption in honesty.” (Confessions)


“The play is alternately funny and sad—and at its best moments, both a self-examination about accepting responsibility.” (Confessions)


“A very funny, poignant and surprising story of self-acceptance and the happiness in finding spiritual connections.” (Confessions)




“While he tells his story with the style and flair of a performer trained in musical theatre, at no point in watching his show did I feel Fales was insincere. Theatrical, yes, but at base this show is quite literally a confession. Fales wants to be forgiven for committing a sin. Not for the “sin” of homosexuality, though. Fales wants to be forgiven for the sin of denying his innermost self. Now I ask you: Which of us would do the same? Which of us would use our lives as fodder for a theatrical presentation in which, if we are to fulfill the highest purpose of our art—to instruct as well as to entertain—we are required to reveal the most intimate details about ourselves, and not just figuratively, but literally as well? There are numerous moments of revelation here. One involves Fales stripping to his underwear, and lemme tell ya, he’s very easy on the eyes. Another involves Fales literally stripping away part of his anatomy, and that moment was beyond surprising and moving; it was stunning. Steven Fales is as brave and courageous as anyone I have ever encountered. Steven Fales deserves our attention because, unlike so many of those who claim to be our leaders, he tells us the truth. Steven Fales is a hero.”


“For all its real pain, Mormon Boy delivers humor, poignancy, and considerable charm. It’s a gem—funny, sad and illuminated by Fales’ love for his children, his deep respect for Emily and his understanding of his motives and actions. It all leads up to a moment of vulnerability so simple and powerful it suggests a kind of grace. All is forgiven with his final breathtaking, self-revelatory gesture. Fales describes his work as ‘ultimately a prayer’, and at that moment, Mormon Boy makes you want to say ‘amen’.”

SAN DIEGO UNION-TRIBUNE, Janice Steinberg, Critic’s Choice

“Fales is taking audiences with him on [a] pendulum swing, from uncomfortable piety to uncontrolled sensuality, and finally to the stillness and peace of finding his authentic self. Tony Award-winning director Jack Hofsiss has helped sculpt the piece into something that’s honest, moving, whimsical, sobering, tender and cathartic. [Fales] morphs from innocent Mormon dad in a BYU T-shirt into a hard-bodied hottie in black bikini briefs. Neither look, as it turns out, really suits him. What works for him is something he finds only after exposing his soul and revealing his truths: He is, at last, comfortable in his own skin.” (Confessions)


“Fales switches The Smile on and off throughout Confessions. In the first half, The Smile is as flat and artificial as the false-front Main Street at Disney World. For most of the second half, The Smile almost manic, barely masking the panic. And in the cathartic finale The Smile loses its broad toothiness, relaxing into a reflection of inner peace. The Smile charts Fales’ internal Pilgrim’s Progress from devout Mormon missionary to in-the-closet family man to self-destructive Manhattan prostitute to a human being finally comfortable in his own skin. [The play] builds in power until it crests in a warm and satisfying wave that lifts theatergoers to their feet . . . generously sprinkled with witty one-liners. As he comes to peace with himself, Fales provides a simple but startling coup de theatre to signal the emergence of the real human . . . his play shoots skyward in dramatic content and emotional payoff. In the end, Confessions is not about coping with a repressive world, but about getting past personal baggage and loving yourself.” (Confessions)


“It’s impossible not to marvel.” (Confessions)


“4-Stars. All told with great verve and energy and with very engaging humour. It is impossible not to warm to this man.” (Confessions)


“Brilliantly acted and beautifully written.” (Confessions)


“An incredibly smart play . . . manages to re-invest a predictable story line with boldness, insight, astute political observation and breath-takingly brittle humour and gorgeous one-liners. Confessions is a deeply-felt spiritual phenomena every bit as much as a piece of careful and well-crafted performance.” (Confessions)


“4-Stars. Fales captivates his audience with a sometimes moving, often funny, and occasionally shocking odyssey from sexual denial to emotional salvation.” (Confessions)


“5-Stars. There’s something here that every gay man can relate to. And, my, how the boy entertains.” (Confessions)


“Breathtaking. A gripping story. That it’s touching and wise too only adds to the appeal.” (Confessions)


“As American as apple pie. It takes a healthy, open-minded approach to barrier busting. Its truth is its strong suit.” (Confessions)


“4-Stars. A dynamo show.” (Confessions)


“4-stars. A slick one-man show . . . fast, furious, and compelling . . . An undeniably dramatic story of the self-confessed ‘gayest Mormon on earth.’” (Confessions)


“Mormon Boy is a stunning example of a true emotional journey that is powerful from start to finish.” (Confessions)


“Through this shameless confession, he adorns himself with the powers of self-recognition. In my world, Steven Fales is a super hero in the gay justice league.” (Confessions)


“Brave, bold, brightly shining masterpiece. One of the most transparent real life plays I have ever experienced. Unforgettable.” (Confessions)


“It is the truth-telling that provides the punch and holds the audience in thrall. A talented performer recounts with charm and power a gripping narrative . . . an emotional, amusing and roller-coaster theatrical ride.” (Confessions)



“A remarkable piece of theatre. Fales shines. An extremely appealing actor and singer—bold, confrontational, understanding, compassionate. He does not pity himself in the telling of his story. He is funny, winning, shockingly honest, moving and entirely believable. Confessions is about as intense an experience as you will get in the theatre.” (Confessions)


“A polished piece of theatre that knows what notes to hit, but there’s a human heart beneath the slick showbiz veneer. Fales is a whiz-bang actor. His script is gracious to the church that excommunicated him, lampooning spiritual hypocrisy without apparent malice.” (Confessions)

THE COAST, Halifax

“Fales walks a fine line between satire and truth and ultimately generates a skillful and compelling balance between one-line zingers . . . and life-affirming revelation. It is a testimony to Fales’ skill as a storyteller as well as his ability to find humor in the often painful human condition that holds his audience for 90 uninterrupted minutes.” (Confessions) 


“Fales is a rare and gifted storyteller who cradles his audience with his words. Even when he is talking about areas of his life that would cause the strongest person to crumble and rail against the world, he brings a smile, holds no grudge, and looks for the divine in his life.” (Confessions)


“Confessions is the most polished production in the trilogy, and the one that best exemplifies Fales’s flair for writing that shifts with artful boldness between levity, bleak drama and warmth. Moving animatedly around the chair that’s the principal set element, and occasionally backed by projections (personal photos, stunning shots of Utah scenery, etc.), the actor tells his story. One minute, he’s recounting his encounters with conversion therapy — spoofing the hair-swishing gestures and sing-song intonations of a specialist who blames his same-sex attraction on trauma experienced in past lives. Then he’s recalling how, in a bid for “heterosexual wholeness,” he started “listening to Garth Brooks and George Strait instead of Ricky Martin or ‘Bernadette Peters at Carnegie Hall.’ ” Then he’s describing the chill bureaucracy of his excommunication, an event followed by his divorce from his wife, another sixth-generation Mormon.” (Confessions) 


“A gifted writer-performer . . . his witty banter and skill as a likable storyteller are consistently engaging. Fales exudes a disarming sense of spontaneity, which draws audiences into this dramatization of his soul-searching journey. His still-youthful energy and demeanor are as sharp as they were in the earlier runs. Viewing Fales still so fully in his element several years after my first introduction to his play series proves that the thoughts one hears about the values of wisdom and experience ring resoundingly true. He continues to come across as likable, relaxed, wise, talented, and confident, and the continuing relevance of his work feels even richer than before.” (Confessions)



“A talented, winning, engaging performer with sharp comic timing commands the Zephyr Theater stage. Quick on his witty ad libs he has the audience eating out of his hands. Fales big reveal near the end stuns! You never see it coming. Good for You, Steven Fales!” (Confessions)


“It’s quite an achievement to showcase an ego that is larger than Carol Channing’s in such a small room.” (Mormon American Princess)

Goldstar Audience Review (Five Stars)

Missionary Position feels right in tune with Obama’s Era of Accountability. It has minimal sex but plenty of seduction. The boyish Fales is certainly engaging; you can see how his Pepsodent smile won converts by the dozen . . . But something truly subversive happens when he dons genuine Mormon temple garments and starts spilling ritual secrets . . . Whatever deity you pray to, Missionary Position asks a valid question: What is the true care of a soul?”


“While questioning Mormon doctrine on sexuality, he feels genuine warmth toward the people of the faith. Fales mixes earnest confession, witty commentary and a number of playful sketches of people he has met on his life journey . . . his performance is polished. He is engaging as the Mormon with a toothy Donny Osmond smile and sparkling eyes as he is as the low-keyed genuine individual he becomes at the play’s end.” (Confessions)


“There is an old axiom that says ‘confession is good for the soul’ and Steven Fales most certainly bares his soul in his intermissionless monologue. The audience witnesses sarcastic humor, songs, and a soulful monologue. He’s an accomplished actor and singer and he looks like the all-American boy next door. He has a lovely voice when singing a Portuguese prayer and one of his own country ballads about Utah. He is engaging.”


“[A] self-revelatory one-man show . . . based on Fales own highly distinctive life journey. In Confessions, the cataclysmic event is Fales’ excommunication by his local ‘Court of Love,’ having his name blotted off ‘the rolls of Heaven,’ and the conclusive disintegration of his, on the surface, ‘perfect’ Mormon marriage. With easygoing humor—and not a little of that in-your-face upbeatness seemingly inculcated into Mormons’ very cores—Fales recounts the story of a youth and manhood struggling against his anathematic same-sex attraction, including all manner of ‘reparative therapy.’ Fales himself upped the ante exponentially, pressure-wise, by marrying into ‘Mormon royalty’—his ex-wife is the daughter of Mormondom’s leading literary light, Carol Lynn Pearson, whose husband (the plot thickens excruciatingly for Fales in terms of the pain potential for his wife and two children) was also Gay and died of AIDS. His life a shambles of guilt and crushing financial debt, stripped of his ‘magic Mormon underwear,’ Fales moves to New York and the frenzied, club-hopping life of a highly paid male prostitute. Weary at last of living ‘trick to trick’, Fales conceived of Confessions as a way out, so to speak, so that the play, ironically, might well be subtitled Going Straight (After All, Sort Of). Good luck in New York, Steven.”


“Fales switches The Smile on and off throughout Confessions. In the first half, The Smile is as flat and artificial as the false-front Main Street at Disney World. For most of the second half, The Smile almost manic, barely masking the panic. And in the cathartic finale The Smile loses its broad toothiness, relaxing into a reflection of inner peace. The Smile charts Fales’ internal Pilgrim’s Progress from devout Mormon missionary to in-the-closet family man to self-destructive Manhattan prostitute to a human being finally comfortable in his own skin. [The play] builds in power until it crests in a warm and satisfying wave that lifts theatergoers to their feet . . . generously sprinkled with witty one-liners. As he comes to peace with himself, Fales provides a simple but startling coup de theatre to signal the emergence of the real human . . . his play shoots skyward in dramatic content and emotional payoff. In the end, Confessions is not about coping with a repressive world, but about getting past personal baggage and loving yourself.”


“Frank, entertaining . . . What sets this solo performance apart from other coming-out stories is Mormonism, an implausible, mysterious and ominous religion to outsiders, which Fales portrays alternately with affection and contempt. When Fales sings live, he reveals a fine voice in several songs, including a self-penned paean to Utah that is sappily uplifting until he douses it with a verbal bucket of cold water. These clever reversals, creating expectations that he upends, add facets to a story that is on its way to becoming a small gem.”


“Fales drew a well-deserved standing ovation after more than ninety minutes of scorching humor, song and soul baring monologue. Fales brilliantly portrays the depths of human complexity of which we all are made. His play is more than a mere confession, it is a testimony, a witnessing of ignorance and intolerance . . . more than an important educational affirmation for emergent queer youth; it is a poignant part of the GLBT history. The segue from indescribably tragic personal agony to commentary eliciting tittering humor is what makes this play so cleverly brilliant. The details of his experience are what comprise the profound gestalt of his performance. His courage is inspiring. One can identify with so much of what he tells, whether one is a Mormon, a Jew, a Catholic, a Muslim, or a Hindu.”  


(Steven’s first NYC review in 2002 by legendary drag queen Ruby Lips, Ruben Lipshitz)


“A landmark play.” (Confessions)



“Fales charismatic recreation of his remarkable life journey is as entertaining as it is enlightening. Those who have become turned off to solo vehicles after seeing a few too many showcases that are nothing more than mediocre standup comedy routines or self-indulgent monologues filled with boring anecdotes would be well-advised to check out Fales’ award-winning off-Broadway hit. This prodigious theater craftsman keeps us spellbound for 90 lighting-paced minutes, seamlessly integrating hilarity and poignancy in an inspirational tale of moving beyond the Peter Pan syndrome to discover a sense of self-worth and purpose in life. There are surprises aplenty in Fales’ script. His tale unfolds with the energy of a juicy potboiler, but is continually brought back to reality with his utmost sincerity and candor. A consummate actor, he segues among various character voices masterfully, and artfully weaves his experiences into a credible and compelling tapestry. He also exudes great sex appeal, and his wit and charm suggest this breakthrough vehicle is a mere harbinger of great things to come. Though this is a must-see production for gay audiences, crossover appeal is evident. The box office lines will soon be extending several blocks along Santa Monica Boulevard.”

IN MAGAZINE, Los Angeles, Les Spindle

“GO! In a sense, this show is the story of Fales’ smile as its meaning evolves from a wholesome rictus to stiff upper lip to mask of denial. Fales is an attractive and engaging personality who wins us over with charm instead of ingratiating gestures. He’s boyish without appearing naïve, mischievous without being cynical. In his opening moments, you never know which way Fales is going to go with his story. Watching Mormon Boy, we find it impossible to imagine another actor taking over the role, in the same way a new production of Swimming to Cambodia would be inconceivable without its late author, Spaulding Gray: Not only is the material deeply personal, but so is the performance. Ultimately, Fales probably has too much material for one performance and, not surprisingly, is said to be working on a new show. If nothing else, this should demonstrate that there are second acts in Mormonism.”

LA WEEKLY, Steven Mikulan

“In the vibrant one-man show Fales diminishes a sense of exploitation by choosing humor and song over self-pity to tell the story . . . juicy, hilarious and often disarmingly poignant.”

L MAGAZINE, Eva Sandoval


“More Man, former Latter-day poster boy takes on church and his sexual demons in one-man show. Go ahead, catch your breath if you need to! Those trials plus Fales’ remarkable victory over them are covered in Mormon Boy, which did run across the country before a successful run off-Broadway this year. In the show Fales poignantly details his longtime struggle to reconcile his attraction to men with his Mormon faith.”


“In the solo show, the clean-cut Fales, tossing off a few sweet songs, relates his story in a straightforward, ingenuous way that almost defies the term ‘show.’ Confessions is a disarming turn that reveals its perpetrator as more warm heart than hot body.”


“Listen to Mormon’s Confessions . . . a heartbreaking and illuminating journey about personal acceptance despite the doctrines of religion. Fales is an engaging presence, though there are moments of over-the-top swishiness. But all is forgiven, because his story is a deft tale about the ramifications of religious constrictions.”

BOSTON HERALD, Lauren Beckham Falcone

“Sex, drugs, and a Mormon Boy. The biggest revelation comes at the end of the program when substance wins over style in a hair-raising surprise.”

METRO BOSTON, Nick Dussault

Mormon Boy held over and has been extended through the end of the month. What does come across unquestionably is Fales’ charisma and utter honesty. Far from whom you might initially think he is, Fales is reason enough to see the show.”


“We confess: Mormon is a must-see show. Steven Fales’ impassioned one-man, self-written, autobiographical Confessions chronicles Fales’ captivating life story. Fales’ acting is impeccable, and his honesty, truth, and bravado shine through the ninety-minute production. He transitions seamlessly between tales of the torrid city and a longing for the love and presumed purity of his past. Fales ultimately his “forever family” within himself and then was able to become free of the binds of conformity to step onto the path of spirituality toward his family and self-love. By defying the church’s ideals Fales defined who he is; a mixed bag of Mormon; a gay man, a performer, and most importantly, a Dad.”

NEWSWEEKLY, Boston, Josh Shea


“It would seem that the coming out tale is dead. Every LGBT person has their own story and by this point we’ve heard so many, and unfortunately so many uninteresting or badly told one, that there seems little new to offer when it comes to yet another coming out of the closet story. However, the fact that someone has managed to write and perform an incredibly compelling story in what can be a saturated genre is perhaps the biggest achievement of Steven Fales’ one-man show Confessions of a Mormon Boy. Where most autobiographical performances fall short is that they fail to be honest, particularly narratives that follow some sort of transformation. Usually audiences are left thinking, ‘You ain’t changed that much, Mary.’ But Fales delivers a refreshingly honest, open and incredibly sincere recount . . .There is no river of denial flowing through this production. Nor is it full of saccharine-sweet-please-feel-sorry-for-me monologues. Honesty is quickly followed by personal responsibility with Fales’ story. Fales masterfully holds the audience’s attention throughout . . .The writing is crisp and compelling and the acting engaging and moving. There is a deep universality to the story, regardless whether someone is straight or gay, had a difficult or easy coming out experience, is religious or not. Despite its often dark and sad themes the performance isn’t depressing, but rather emotional and spiritual. And it is not a story that is filled with anger and blame, but rather redemption, forgiveness, and understanding. Confessions will surely take its appropriate place in significant and important LGBT contributions to theatrical culture at large.”

IN NEWSWEEKLY, New England’s Premier GLBT Newspaper, Steve Dosroches

“During a long career as a drama critic, I have seen many gay shows. Whatever your personal view of homosexuality, gays are part of relevant political discussion and dramatic literature. The first gay show I saw was a blistering production of Boys in the Band at the Coconut Grove Playhouse. Everything I’ve seen since has been a disappointment. They were either almost porno exploitations, or unfunny comedies or sloppy slapdash productions. If the gays are desirous of having the world pay attention to their particular status, they have to take themselves more seriously and present shows that discuss their problems and aspirations with greater respect. And better acting. These problems are marvelously undertaken in Confessions of a Mormon Boy by Steven Fales, a remarkable evening of theater that goes far in presenting and legitimatizing the gay cause. The material could easily have been dealt with for sensationalism and shock. Thanks to Fales, it was not. In all forms of theater, the difference is talent, and Steven Fales has talent galore. Not only did he write the script, but he plays it to the hilt. Set aside the fact that he is a gay actor in a gay piece, Steven Fales is a brilliant actor. He is quicksilver. He switches from mood to mood, expression to expression, posture to posture in the blink of an eye. He starts with a little boy glint of mischievousness, to crippling, numbing doubt, to the burdens of abject failure. He is in constant contortionist action. His graphic depictions of the demands of his sexual clients are broad and tragically riotous. In the end, you come out with compassion, understanding, sympathy and appreciation for the remarkable talent you have seen on display. Whatever your personal views of homosexuality, you will appreciate a remarkable evening of theater in Confessions of a Mormon Boy. My wife loved it, too. Rising Action’s artistic director David Goldyn has set himself a great challenge. He has set a benchmark. Everything that follows has to be at least as good, if not better than Mormon Boy. It's gonna be a tough job.”

CURTAIN CALLS, Ft. Lauderdale

“Sharing humor, angst, anger and pathos in his tour-de-force. Quotable quotes and memorable moments abound in Fales’ monologue. His riotous account of his first assignment as a hustler makes for a breathtaking set piece. His story of marriage to a Mormon woman whose gay father died of AIDS is simply eerie. He works through his issues and arrives at understanding and forgiveness, his irrepressible, seductive charm—that Mormon smile!—and honesty ensure that we’re steadfastly on his side. Catch Confessions if you can.”

QONSTAGE.COM, Bruce-Michael Gelbert, Fire Island

“There’s more than enough drama there to fuel several nighttime soaps on the CW.”


The Lion King has followed its spectacle-driven bliss since its 1997 Minneapolis debut, having played before almost 30 million gawkers to date worldwide. Some 120,000 of those will have seen the San Diego production before it closes. If they’re looking for story over sigh and sound, they’re better off at Diversionary Theatre’s Confessions of a Mormon Boy. If their theater hinges on lots of bells and whistles—really, really big bells and whistles—they’ll find more than they paid for here, in the best sense of the phrase.”

SAN DIEGO CITY BEAT, Martin Jones Westlin

“Fales is sharing a not uncommon but rarely discussed story.”



“His story is a compelling and surprisingly humorous one. The message is powerful. Fales really does seem like someone you might like to know. His speech is heartbreaking in its simplicity and honesty and it becomes as difficult not to love the man who’s willing to be himself as it had been to love the man who forced himself to be anyone but.”

TALKINBROADWAY.COM, Off-Broadway, Matthew Murray

“It’s a smart ride that Steven Fales gives us. It’s a cleverly conceived and quick moving story of the life of a failed Mormon. Like The DeVinci Code he will give you the combination to corporate religion code. And with it all—he makes it devilishly funny, heartfelt and interesting. A delicious blend of fun and raunch.”

BEYOND CHRON, Buzzin Lee Hartgrave

“The plot has more dubious, juicy twists than a Desperate Housewives episode.”


“The journey from fraud to real is one that has pain and would be very useful for many men to hear. I would encourage all former, current and recovering Mormons to see the show. Anyone with a strong fundamentalist religious or cult background would get something out of the show.”


“As a gay, ex-Mormon myself, I do confess that I had never before witnessed this particular subject matter in the context of a play or movie. Regardless of your background, however, this story has universal appeal to anyone who has ever strayed off the straight and narrow within the confines of their religious upbringing or any other stricture. Fales presents the story in a very witty, charming, humorous, clever, and when necessary, serious way. He is not only a good actor, but a wonderful singer and spellbinding storyteller. I was most impressed with Fales’ ability to tell his seamless story in such a way that clearly got his message of reconciliation to tactfully shine over Latter-day Saints’ inner labyrinth of hypocrisy, contradiction, and intolerance without taking cheap shots or trashing the Church. He’s a very class guy, and it is to his credit he is able to make this happen by planting some powerful seeds of thought and making us laugh at the same time. Interestingly, this is actually a fairly wholesome play. There are no four-letter words used (not even “damn”), no nudity, and it would probably be rated PG-13 at worst if it were a motion picture. While I’m not a prude, I find it refreshing to see such things from time to time. And I left the playhouse feeling a lot better than when I entered. Run, don’t walk to see Confessions.”

411 MAGAZINE, Craig Sherritt, Wilton Manors Commissioner

“Steven Fales never landed on Jerry Springer, but he’s certainly got a story that would leave most day or nighttime talk show hosts drooling excessively.”

TWN, Miami

“If you thought those Mormons were harsh on Julie, the Brigham Young coed who traded modesty for make-out session on The Real World: New Orleans, imagine if she were a straight-up lesbian to boot. Such is the case with Steven Fales.”


“Jack Hofsiss directed this marvelous one-person play. Fales is a fine actor and must undergo dynamic mood changes as the story of his life progresses. It is a beautifully realized production.”


“We heard about gay Mormons—and their wives and mothers—in Tony Kushner’s Angels in America”, so what makes Steven Fales’ Confessions of a Mormon Boy special? Well, Steven Fales. The writer/performer is just irresistible. He’s adorable, talented, honest, earnest, upbeat and genuine. There is a never-ending flow of stories like this. But Fales’ ingenuousness and ingenuity, honesty and hopeful, All-American Boy mien and manner keep you engaged. And audiences just keep coming. This is already the most popular, highest-grossing show in the past five years of Diversionary Theatre’s history. Fales is incredibly courteous and considerate. Fales’ generosity never fails.”

CURTAIN CALLS, San Diego Theatre Scene, Pat Launer

“Sex, drugs and Mormonism make a potent cocktail in Steven Fales’ 90-minute tour de truth. This real-life confessional comes as close to an emotional strip show as most audiences can handle. Full of false denial and lacerating self-exposure (including a physical one that’s absolutely chilling), this is a roller coaster of a reclamation saga. You really sense the pain behind Fales’ dazzling ‘Mormon smile.’”


“In telling it honestly and candidly, he provides us an insider’s view into one of society’s most high-profile and misunderstood subcultures. Fales’ confession includes a moment of self-revelation that drew gasps from spectators long inured to the sight of exposed flesh.”

WINDY CITY TIMES, Mary Shen Barnidge

“Funny, sad and sometimes painful, Fales presents a compelling parallel to what many of us had to endure in order to find happiness within ourselves. His touching realism with the audience makes you wonder how many other gay boys, Mormon or otherwise, are out there dealing with similar circumstances. He transports us. After he takes control of his life and stops blaming others for his struggles and pitfalls, Fales discovers a life of integrity, happiness and his own chance to be a good father and a good person. He overcomes the Mormon stereotype ingrained in him from his youth and becomes his own man.”


“It sounds straight out of a Lifetime movie, and I mean that in a positive way.”

ROCKET, Fernando Pichardo

Confessions details the comic, harrowing, poignant and thought-provoking aspects of the life of playwright/performer Steven Fales. He is in the same boat as the repudiated gay Orthodox Jews, whose stories were so poignantly told in the 2001 film Trembling Before G-d. Confessions is always honest. Fales is a terrific storyteller, populating his story with spot-on imitations of others who have crossed his path.”

GAY & LESBIAN TIMES, Jean Lowerison

“Surprisingly uplifting and thoroughly compelling. This optimistic tale is inspirational.”


“The audience witnesses humor, songs and soulful monologue.”

TALKIN' BROADWAY, San Francisco, Richard Connema


Confessions is a theatrical catharsis that doubles as riveting performance and an extended therapy session. Fales tells his tale with remarkable candor and humor, his pain is never far from the surface. Yet he’s turned his private travails into performance art—touching and brave. His journey is harrowing, but his redemption makes for interesting theater.”


“This dark, disturbing tale is as humorous as it is heartbreaking and ultimately Fales learns to reclaim himself and his “Donny Osmond” smile. Fales is a gifted and marvelously campy performer. Thoroughly engrossing.”


“Oft-comic. Compelling. Quite entertaining. The story comes alive the most (and separates from Tim Miller and David Drake stylings) when Fales discusses his unique connections to spirituality/religious path and laments what was taken away from him. These moments, along with a surprising and powerful finale, are among the show’s best, as they ring the most honest and get to the heart of the man behind the Mormonism.”

OUT.COM, Mekado Murphy

“For 90 minutes with no intermission, Fales holds the stage by himself. It would be easy to make such material—Mormon Eagle Scout turns high-priced call boy—into farce. But Fales is too honest. Each separation in his life, even from the hypocritical church, is given the weight it deserves. Fales has called this play a ‘valentine’ to his own children. It’s certainly that. But his willingness to literally strip away his own defenses will leave you breathless.”


“Fales ordeal, while not altogether unfamiliar, is extraordinary. Powerful stuff, to be sure. Equally impressive is the physicality of Fales himself. With corn-fed good looks, Mormon ultra-bright smiles, and chiseled Chelsea physique, he seems made-to-order from Central Casting. This presence is particularly handy during the steamy new York portion of the play, where the actor swaps his sacred temple priesthood undergarments for a skimpy pair of black 2(x)ist undies. Also awe-worthy are the actual recordings of Fales as a child which punch up the poignancy at key moments. Fales must be commended for revealing such achingly personal intimacies and for packing such a vast amount of convoluted plot into a cohesive, mere 90 minutes. The writing is often sharp and wryly insightful. He’s more than just a pretty face. It’s not until the play’s end, when he literally steps off the stage and sheds his Mormon Boy persona, that we fully connect with this tortured soul.”

GAY CITY NEWS, David Kennerley

“While it’s a familiar story—young man raised in a religious household can’t accept that he’s gay, and when he does, turns to hedonism in the Big Apple—it’s unexpectedly heartbreaking to hear it from a Mormon. Director Jack Hofsiss keeps the production lively with disco lights and touching recordings . . . but it would be just as riveting with Fales alone, delivering his tale with humor, and most importantly, empathy, something he never received from the church he still loves.”


“The actor possesses plenty of confidence, sex appeal, and charisma, yet is also able to let down his defenses and show the audience his vulnerable side. Fales, a fine singer, includes musical interludes; one of them a catchy original reminiscent of a Dan Fogelberg tune, about going home to Utah. It’s an engaging true-life story that’s funny, poignant, and life affirming.”


“Both touching and funny, Confessions is extremely honest and nearly always engaging. The production is directed by Jack Hofsiss (The Elephant Man), who has done an excellent job with the pacing and the shifts in tone from comedy to near tragedy. As a performer, Fales’s manner is rather theatrical . . . he plays about 25 other people. Above all, though, Fales is himself—warts and all—in this deeply revealing one-man show. The journey from devout Mormon to out gay man (and devoted father) hasn’t been an easy one, but it does make for a captivating story.”

BROADWAY.COM, William Stevenson

“Steven Fales presents his amazing life story in a tour-de-force one-person show. Confessions is Fales’s generous offering to all of us who have struggled with what it means to be . . . human. His classy, omni-sexual performance moves from grace to grace and traverses his, and everypersons (like Everyman but better) journey from the “depths of unhappiness” to self-acceptance and complete personhood. Fales’s “confessions” is relevant and visionary. One of the most brilliant pieces of theatre I have seen. Truly transcendent.”


“A brave performance. Confessions is an epic about being gay and about allowing oneself to be imperfect. Fales’s performance comes deeply from his heart and is admirably honest. Stories of self-discovery are often told, but this one has a rare humility. The show is magnetic when Fales acts out his most vulnerable moments. He shows a bravado through his body, but a simple sadness in his eyes. Fales came through a metamorphosis to realize that it is all right to be himself. He made me feel grateful to be imperfect.”



“He tells his story without sentiment and without flinching, but—most assuredly—with a fabulous eye for detail. You never get a sense that he’s playing the victim. He gambles that his story will prove sufficiently gripping to draw the viewer in. As it turns out, this isn’t a gamble at all. What really makes Confessions work is one’s growing awareness of Fales’ hard-won maturity. This is demonstrated most vividly in the astonishing transformation that provides the finale. It’s not unusual in shows like these for the performer to get naked sooner or later; Fales achieves a much greater shock by much simpler means—not to be revealed here.”


“Fales’s confessional offers moments of startling insight. There is a moment at the end when Fales puts away his flamboyant façade, stripping away the characters he has been playing all his life. It’s a surprisingly raw moment . . .”





Boston Globe

San Diego Union-Tribune

TimeOut London 



You never forget the bad ones . . .

Coming soon:

The back-handed, mixed New York Times.

TimeOut New York.

One-Star from Frontiers Magazine, Los Angeles

The hateful Evening-Standard.

The homophobic New Yorker Magazine.