“...nothing is stereotypical or cliché with Brown’s characterization [of Amanda’s father, including] his ability to underplay and delicately demonstrate the masculine experience... Every line, every interaction is pure and [comes] from a place deep within the soul.”
—Shannon Milliman (Front Row Reviewers) about “A Feminine Ending”

“David does a wonderful job disabusing us of [the] notion that [Amanda’s father] is faithless and disconnected...through the wry, warm expression of his relationship with [his daughter] and through his generous understanding and acceptance of his wife’s odd view of reality.”
—Tina Arth (Westside Theater Reviews) about “A Feminine Ending”

“David Mitchum Brown [rocks] a handsomely shady Roger Sterling–from–‘Mad Men’ mien.”
—Lee Williams (The Oregonian) about “Urinetown”

“As Clifton, the station manager and announcer, David has perhaps the most versatile voice, and he leads the ensemble in various song-and-dance numbers.”
—Neil Novelli (The Syracuse Post-Standard) about “The 1940s Radio Hour”

“David does a great job as MC of the show...he’s wonderful.”
—Katie Hall (The Cortland Standard) about “The 1940s Radio Hour”

“Most notable is David Mitchum Brown: Father is old-fashioned, tactless, and staunchly practical—Brown’s straight-faced delivery of the dry wit makes such eccentricities endearing, even lovable, and certainly fun to watch.”
—Adam Stewart (VanVoice) about “Life With Father”

“Anne’s [father, a conservative politician, is] played by David Mitchum Brown, the perfect stuffed shirt.”
—Charlene Baldridge (Gay San Diego) about “La Cage aux Folles”

“There’s some great tango dancing in the café scene featuring Sydney Weir and David Mitchum Brown.”
—Holly Johnson (Oregon Music News) about “She Loves Me”

“Even small roles such as Sydney Weir and David Mitchum Brown’s elegant tango are well-turned.”
—Bob Hicks (Oregon ArtsWatch) about “She Loves Me”