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TheatreWeekly – 5*

Telegraph – 4*

The Stage – 4*

The I – 4*

WhatsOnStage – 4*

The Times – ‘Omari Douglas impresses’

New York Times – ‘feisty [Douglas] drives the opening scene’

Guardian – ‘JB, brilliantly played by Douglas’

London Theatre – 4* – ‘Omari Douglas is doing some career-best work as JB’

Omari has a cameo role in Rye Lane, which has opened at Sundance to good reviews.

Screen Daily

Deadline

Guardian

IndieWire

Rotten Tomatoes

Omari has been cast as JB, one of the four leads, in Ivo van Hove’s upcoming West End adaptation of A Little Life. 

The stage adaptation will play for 12 weeks at the Harold Pinter Theatre in London from 25 March, marking its English-language debut.

With soul fusion and a riot of South American rhythm, The Dream Prom takes us on a journey deep into the subconscious mind, its shadows, and the memories that make us who we are. This storytelling spectacle transforms the Royal Albert Hall by a series of dreamscape projections and live music, following the story of Sky (played by Omari Douglas), who, haunted by a recurring dream from his childhood, turns to a Dream Journal to understand his own mind.

I Hate Suzie Too has been announced for SkyTV, with Billie Piper reprising her role and with Omari playing Holland, Suzie’s new PR.

It’s A Sin nominated for eleven BAFTA awards, with Omari being nominated for Best Supporting Actor.

It’s a Sin has won the Broadcasting Press Guild Awards for Best Drama.

Omari has been nominated for an Olivier for Best Actor following his sensational performance in Constellations at the Vaudeville Theatre.

Omari has been nominated for a WhatsOnStage award for his performance in Constellations, and will also be presenting at the ceremony on 27 February.

• Omari Douglas‘s sweet, watchful, idealistic Cliff, as breakable as the story’s symbolic glass bowl. It’s his loss of innocence that forms the evening’s great tragedy – along with that same loss for Germany, and for the audience, as darkness steals in and the score turns hard and menacing. Broadwayworld.com
• Cliff – a charismatic and hypnotically alert Omari Douglas. The Daily Telegraph
• Theatregoers are more likely to get excited by Douglas. Wearing a gorgeous long grey woollen coat and impeccably tailored suit, he starts out as the most dapper ‘starving writer’ .But he brings strength of character to an often sappy role – and gives Buckley a real lift in their scenes together. The Daily Mail
• When Sally and Cliff (Omari Douglas) come together, there’s some sort of magic happening on that stage. Theatreweekly.com
• All roles in the cast of 16 are characterized to perfection, including Omari Douglas’s Cliff. TheArtsDesk.com
• Omari Douglas makes a particularly good Cliff, whose gleeful naivety at the beginning turns into fierce political will by the end. The Stage
• Douglas, in an uncharacteristically demure role, is charming as the wet-behind-the-ears author. Culturewhisper.com
• Our audience surrogate is Clifford Bradshaw, an aspiring novelist who has come to Berlin in search of inspiration and the freedom to be who he really is. Omari Douglas is lovable and relatable throughout as he attempts to convert the mess of personalities and politics he finds in Berlin into a stable life, before realising that such a feat may not be possible. Though not given many songs, his acting is wonderful and he commands attention without the need for elaborate choreography or glittering costumes. Musical Theatre Review
• ‘It’s a Sin’ star Omari Douglas as Clifford, the penniless, wandering American who falls in with Sally and, for a time, almost persuades her to leave her world. He has an intensity but also a deep vulnerability from the off – not the booming American who only reveals his secrets drop by drop, but a beautiful and different young man whose guilelessness, honesty and – frankly – need of mothering overrides Sally’s natural defences. Time Out
• Omari Douglas (It’s A Sin), who is fantastically square as American writer and morally upright Clifford, who is shocked and appalled to be drawn into the sphere of the Nazis by his friend, Ernst. Tatler

• The new acting teams are stunning. The Douglas-Tovey is undoubtedly the sexiest iteration of the script. The opening gambit where Marianne, rechristened Manuel for the enchanting Douglas, points out to a bemused Roland that it’s impossible to lick your own elbows, has never sounded like such a come-on, and numerous subsequent exchanges appear to be bathed in a post coital glow often unexplored by the other teams of actors.Tovey’s laddish persona fits Roland like a glove and he is hilarious as a man often bewildered both by his own feelings and the sheer magnetic force that Douglas’s beautiful force of nature pulls on him. This pair may be the funniest but they are also the most heartrending: the break in Tovey’s voice as he tries to negotiate his partner’s potential descent into the abyss is one of the most moving things on any current London stage. Whatsonstage.com
• Douglas and Tovey’s same-sex version is perhaps the richest yet. Douglas, so wonderful in Russell T Davies’s It’s a Sin, is just as charismatic here as renamed scientist Manuel.A fabulous flirt, he’s also passionate about his mind-blowingly complex work – a beguiling mix of playfulness and formidable intellect. Twice Tovey cuts off any possibility of connection between them, but when they do come together, the shifts in tone and power balance are startling.In some scenarios, Tovey’s Roland is an angry bully, even a stalker; in others, he’s an unassuming, likeable bloke who gazes adoringly at Manuel as if he can hardly believe his luck.A chance encounter, after a break-up, at a ballroom class goes from tense stand-off to gorgeous, gliding pas de deux. One interlude – in a universe in which the couple communicate in British Sign Language – has a devastating, near-silent grace. These are stellar performances in a fascinating theatrical experiment. iNews
• Douglas and Tovey’s kinetic performances have the edge here. They share a naturally playful, even-handed chemistry that breezes adroitly through razor-sharp comic timing and the abrupt changes of scene. The Telegraph
• Douglas and Tovey bristle electrically with contrasts. Douglas effervesces on stage, bringing a quicksilver charisma to Manuel’s unstoppable flow of words. Tovey gives Roland a tongue-tied plaintiveness unpicked by bursts of eccentricity. He’s wonderfully expressive non-verbally. Their physicality together is the motor that drives some big comic scenes but also a whiplash-quick moment of shock brutality in a darker timeline.Their pairing lands Payne’s beautifully measured unpeeling of the many layers of who we are (and can be) in a big, bold terrain. It plays with ideas of masculinity, while taking the interplay of near-misses and misunderstandings into vivid comic choreography. The Stage
• Indeed, of the four versions, it is the one that strays furthest from the original concept that feels the most authentic, in part because of the incredible performances from Omari Douglas and Russell Tovey, who have a sublime chemistry on stage together.It also feels like it is this pairing who have been able to play with the characters the most, making the most of the alternate realities.  While some of the text adapts to accommodate the change of character, much of it actually remains in place, allowing both Manuel and Roland to explore the multiverse possibilities even further. Theatre Weekley
• In Douglas’s performance, the terror and need is wrapped within his signature floridness, making Tovey’s attempts to reach him extremely touching. Tovey proves that less is more in his own performance – so comic, but also so real. He is, and will be, bereft when the startling Douglas is gone, and he may well find the predictability of beehives is no longer enough for him. The Arts Desk
• And speaking of actors. What a job this must be for any thespian. Whilst we are sitting back watching, they have a marvellously complicated script that must have been a nightmare to learn. At points, the language of the scenes are so similar that everything relies on the way the lines are delivered and both actors have really nailed that aspect. Douglas brings a lovely campness to the role of Manuel. At points a stereotypical queen, at others just a boy in love, and at others a geeky lad connecting with the real world. Tovey’s Roland is the boy next door. A little shy, often quiet – especially when compared to Manuel – but then prone to bursts of over-the-top enthusiasm that take over as he loses all inhibitions leading to unexpected but very logical emotional outbursts. The two characters have real chemistry which makes the unlikely pairing of a beekeeper and quantum physicist feel real and understandable – talk about opposites attract. LondonTheatre1
• Omari Douglas, fresh from success in Channel 4’s It’s a Sin, plays Manuel as a vulnerable drama queen and Payne’s sharp, stinging dialogue suits his style perfectly. Russell Tovey’s “boring” Roland is the ideal foil for him and the actors’ timing of the quick fire comedy exchanges is impeccable. When the play is funny, this pair makes it very funny and, when it stops being funny, there appears a tender emotional bond,  which is truly touching. The Reviews Hub
• However, for me, the out-and-out winner of this quartet is the pairing of Tovey and Douglas – the latter building on his superb work in recent TV hit It’s A Sin. Douglas makes the most radical choice with the academic character, here changed from Marianne to Emmanuel: instead of making him prickly and closed off, he uses that brilliance to be playful and flirtatious.There’s an immediate heat between the two men, even as they tease out that extra layer of whether the other man is queer; Tovey refers first to a wife, then a husband. The elbow-licking opening salvo has never seemed quite so sexy, and the honey exchange is given a simmering subtext, along with little touches and articulate body language that conveys so much more. Their first kiss is all smouldering intensity; the marriage proposal draws cheers and applause.The sheer authenticity of that emotional connection raises the stakes of the whole play: you invest in them not just because you want this couple to beat the multiverse odds, but because you care about them wholeheartedly. And though of course our society has improved immeasurably when it comes to LBGTQ+ acceptance, there’s a slight sense of fragility – that it’s even more special when they find each other, and such happiness, and its potential loss is all the more tragic.There’s also the most exciting variation here between each repeated scene, with both actors taking big swings – whether leaning into the darker conflict, including a moment of shocking violence, or revealing new shades of each character. The dancing sequence is a highlight, as is the sign language scene, and, later in the story, their wrestling against a terrible inevitability feels utterly human, and universal.This experiment has been an absolute triumph. LondonTheatre 
• Constellations stars Russell Tovey as Roland and Omari Douglas as Manuel, as two star-crossed lovers. These two actors are simply superb with exceptional execution of their respective stage craft to such a huge and well-honed degree. Written by Nick Payne, the dialogue is repeated over and over and by subtle changes in nuance  and inflection we get a different mood, a contrasting message of what the characters are saying to each other. Here Payne also introduces layered conversation laced with pure comedy gold zingers and where Tovey in particular almost changes his voice to create a completely different persona, it brought the house down.Their individual stage presence is phenomenal with both of them completely in control of the pace and delivery of the dialogue. Constellations asks questions about propositions, loneliness and the need for companionship when dark thoughts enter your mind; the plays also discusses assisted suicide. With lighting by Lee Curran and magnificent directing by Michael Longhurst, at a flick of switch Tovey and Douglas give compelling and  dynamic performances. It’s very clear – almost written in the stars – that their roles in Constellations are the hottest ticket right now in the West End. Boyz
• Tovey and Douglas are brimming with charisma and chemistry.This reviewer only saw the Tovey-Douglas production and not the Martin-O’Dowd version, but others have noted that the former is the sexier, funnier take of the two. Both men bring something different to the table: Tovey’s performance is grand, Douglas’ more intricate. Sparks fly when they’re together, with their physicality making the entire thing magnetic.The result is a landmark of queer theatre, a triumph in storytelling. Despite the lofty concept, Constellations feels fun, fresh and heartening – mixing love, hate, comedy and tragedy with a deft touch. Pink News 

Omari stars in Constellations at the Vaudeville Theatre by the Donmar Warehouse.

“This summer Nick Payne‘s beautiful and heart breaking romance CONSTELLATIONS is revived in the West End with a twist: four different casts take turns to journey through the multiverse and the infinite possibilities of a relationship; each refracting the play afresh. Starring Sheila Atim and Ivanno Jeremiah (18 June – 1 August), Peter Capaldi and Zoë Wanamaker (23 June – 24 July), Omari Douglas and Russell Tovey (30 July – 11 September), and Anna Maxwell Martin and Chris O’Dowd (6 August – 12 September).” The Donmar Warehouse

• The play, directed by Joseph Winters, had a brief run two years ago and was due to be staged at London’s Trafalgar Studios in June. Produced by Roger James Elsgood and Stephen Daldry, this is, unusually, a Zoom rehearsal with actors reading their parts for the first time from a script. It is remarkable that the performances gel so well, however static the setup. Each actor is convincing in his part, although Douglas – who was cast in the same role two years ago – is narrowly the strongest of the three. The Guardian