Kevin Koppman-Gue.com

Urinetown, Highland Players

The cast is full of great comedians, led by the dynamic Kevin Koppman-Gue as our narrator Officer Lockstock – the chief enforcer of the tough new laws. Kevin has a great sense for the show’s comedy, making for a leisurely ruthless cop with a slight nervous streak and given to painful bouts of jealousy, doing it all with great timing and dance moves..
--Rob Hopper
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How I Learned to Drive , Lynx Performance Theatre

(Koppman-Gue is a particularly sweet-voiced standout)
--Pat Launer
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Krista Bell, Allie Dana, and Kevin Koppman-Gue play multiple roles (and sing) effectively.
--San Diego Reader

The cast of six, including Alicia Randolph, Krista Bell, Allie Dana and Kevin Koppman-Gue, captivates with powerful vocal ability and strong harmonies in these a capella numbers.
--Jennifer Chung
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The Bacchae, 6th @ Penn

The king (Kevin Koppman-Gue) is a snappish, ill-tempered boy
--Pat Launer
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The fly in the ointment is Dionysus’ cousin, the straight-arrow Theban king Pentheus (Kevin Koppman-Gue), who does not want those unruly Dionysians raging through his city. He imprisons the frenzied adherents and his disguised cousin as well, which seals his fate (and a particularly brutal one it will be). Dionysus, who describes himself as both “most terrible” and “most gentle,” certainly proves himself to be the former. Lay directs a fine cast headed by Heath and Koppman-Gue, including fine supporting performances from Maxwell, Green and Bonnie Stone as Pentheus’ mother, Agave, who finds herself drawn to the Dionysians, and will pay dearly for it.
--Jean Lowerison
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Casting the youthful Kevin Koppmann-Gue as the tragic hero, Pentheus, is a risk-reward proposition. While rightfully callow in his fumbling, stubborn attempts at leadership – he bans Dionysian worship in Thebes because his mother gossips that the god is only a mortal – Koppman-Gue's actions seem more petulant than arrogant. Shakespeare talks about “the clash of mighty opposites,” a requisite for tragedy, but this Pentheus emerges mostly as a spoiled brat. Thus Dionysus' horrific vengeance seems disproportionately petty, but that may be precisely Euripides' point.
--Michael L. Greenwald

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The Winslow Boy, Lambs Players Theater

"As their offspring, Kevin Koppman-Gue is the vulnerable, sympathetic pre-adolescent at the center of the case, though principle soon overtakes the details."
--Pat Launer
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I'm pretty sure Jim Chovick and K.B. Mercer, who play the Winslow parents, have worked together before, but I'm not sure about the three actors playing their children (Colleen Kollar, Kurt Norby, and in the role of the Winslow Boy in question, a very gifted Kevin Koppman-Gue).
--SpearBearer

Kevin Koppman-Gue is a timeless teen, the accused cadet Ronnie, whose increasing indifference to his case shows how the trial's outcome is more his father's battle than his own.
--Pam Kragen
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A shrewdly cast and balanced ensemble
--Anne Marie Walsh
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- brilliant and frosty barrister, Sir Robert Morton (played here with a good balance of intensity and detachment by Jason Heil), submits 13-year-old Ronnie Winslow (played with an appealing blend of pluck and vulnerability by Kevin Koppman-Gue) to a grueling cross-examination on the subject of a stolen money order that precipitated Ronnie's expulsion from naval academy.
--Unedited advance reviewed by George Weinberg-Harter for Back Stage West

The Smatchet, Fritz Theatre

As her midday, hooky-playing love interest, Kevin Koppman-Gue was cute in a delightfully
nervous-geeky way.
--Pat Launer
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Jessie ditches class, purportedly to have sex with a schoolmate (Kevin Koppman-Gue, adorably nervous and naive).
--Jennifer Yang, San Diego Union Tribune - August 13 ,2005

Reading of Alcestis, Grass Roots Greeks

In a tiny role, young Kevin Koppman-Gue was heart-wrenching as the grieving son.
--Pat Launer
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The Children of Heracles, 6th at Penn Theatre

With UCSD professor Marianne McDonald's fluent, lively translation as its spine, and a fine ensemble of actors sparking her script to life, Delicia Turner-Sonnenberg directed this clear and effective production that plays through August at the Hillcrest storefront theater. Even the intimate space, so tiny compared to the great Greek amphitheaters in which such plays were first performed, serves the drama by placing the audience in the middle of the action, engaging everyone in its all too familiar arguments about the treatment of refugees and prisoners of war.
--Anne Marie Walsh, San Diego Union Tribune - July 21,2003

Under Delicia Turner Sonnenberg's skillful direction, the cast captured the various emotions and moral quandaries exceptionally well, infusing the production with the individual humanness that is so crucial to its success. The children do a terrific job as the innocents facing the very real prospect of death.
--Rob Hopper, San Diego Playbill, 2003
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Medea, Queen of Colchester, Sledgehammer Theatre

Medea's mostly unspoken thoughts as she slips into insanity, creating an authentic atmosphere of increasing lunacy from which all need fear - even her beloved stepchildren played with tender innocence by Nathan August, Michael Cullen, and Kevin Koppman-Gue.
--Rob Hopper, San Diego Playbill, 2003
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Mack and Mabel, Adams Ave Studio of the Arts

Koppman-Gue, for his part, does well with what he's given. The young actor has a fine singing voice, is spry on his feet and gives his character some fiery passion.
--Jennifer Chung, San Diego.com- 5/16/2005