Peter Ong
Tenor
Described as the "Consummate Artiste" (The New Straits Times, 2014) and "the most recognisable face in Malaysian musical theatre" (Arteri, 2016), Peter has performed in many operas, musicals, recitals, concerts, revues, and events. He has appeared on stages all over Asia including Malaysia, Singapore, Thailand and Australia. In 2015, Peter had the honour of performing at the ASEAN Summit Gala Dinner attended by all ASEAN Heads Of State as well as President Barrack Obama of the United States of America as well as Prime Minister Li Keqiang of China. Here are some press snippets of previous roles on stage:
“Peter Ong stole the show early on as Goro... his silky lyric tenor is effortless and natural, and he uses it well, to expressive ends. I was very impressed with his abilities and would really like to see more of him in the future.”
Madama Butterfly – Singapore Lyric Opera
The Flying Inkpot, May 2005
—
“A dramatic impact was made by Peter Ong’s Goro with his judicious use of insidiousness and pragmatism.”
Madama Butterfly – Singapore Lyric Opera
The Straits Times, May 2005
—
“Peter Ong endowed the role of Don Ottavio with eloquence as well as lyricism.”
Don Giovanni – Bangkok Opera
Opera Magazine, April 2005
—
“...Ong snarls and growls all the way in his memorable performance as the Big Bad Wolf.”
Always In Wonderland? - PAN Productions
The Star, August 2010
—
“Ong’s Big Bad Wolf was clearly the star among the men, with his excessive masculinity right down to the growls”
Always In Wonderland? - PAN Productions
New Straits Times, August 2010
—
“Among the solo performances, Peter Ong stood out with his heartfelt rendition of Bring Him Home from Les Miserables.””
Sparks of Broadway - Farah Sulaiman
The Star, July 2010
—
“Great singers impress you every time, and the likes of Peter Ong singing ‘Bring Him Home’ from ‘Les Miserables’ made shivers run down the audiences’ spine.”
Sparks of Broadway - Farah Sulaiman
Just Dance Magazine, October 2010
—
“The most fun you will have at the show is during Ong’s songs...”
Cabaret - PAN Productions
The Star, May 2011
—
“The undisputed star... was Peter Ong, who was simply fantastic as the flamboyant, androgynous Emcee, stealing the show with his outrageous outfits and wild behaviour. Managing to be both likeable as well as menacing, Ong’s performances – particularly in The Money Song and If You Could See Her – were a delight, often serving as sharp commentary on human behavior as well as the events of the play.”
Cabaret - PAN Productions
Selangor Times, June 2011
—
“The one character that no one could ignore was The Emcee, played with unbridled panache by Ong.”
Cabaret - PAN Productions
New Straits Times, May 2011
—
“From the moment the Emcee sings the opening line ‘Wilkommen, Bienvenue, Welcome’, you knew this production meant business. Mr. Ong as the Emcee maintained superb confidence and a presence unmatched by anyone else in the cast. His role is probably the show’s most challenging; the Emcee is an omnipresent personality who is host, tease, commentator, comedian, oppressor, victim and storyteller—a chameleon in appearance and character. Mr. Ong deftly, deliciously and magnificently showcased the ease, aplomb and showmanship that only a stage vet could possess (not to mention an impressive faux German accent). He made the role his own with flair and sang with a voice that was both controlled in its pacing and powerful in its reach—I dare say his performance alone would have justified the ticket price.”
Cabaret - PAN Productions
We Are Malaysian Made, May 2011
—
“...but the star of Cabaret from the first moment the show started was the larger than life Emcee. The role was made for someone with Peter’s talent. Already known for his vocal prowess with local opera companies, Peter's Latin Dance background and acting chops helped sell the outlandish character as he sings, dances, teases, cajoles and shocks the audience with his words and misdeeds.”
Cabaret - PAN Productions
Just Dance Magazine, July 2011
—
“The actors were also impressive... Ong delivered as the Scarecrow.”
The Wizard of Oz - PAN Productions
The Star, May 2012
—
"Malaysian tenor Peter Ong closed accounts with Wolf's two Pelegrina lieder and the prayer-like Gebet, impressing with his enormous range and depth of feeling. The final number Abschied (Farewell) was no Mahlerian tear-jerker between departing lovers but a final riposte by adversaries, with an uproarious send-up to the Viennese Waltz. Both singer and pianist hammed it up for an upbeat and spirited close."
2nd Singapore Lieder Festival
The Straits Times, September 2011
—
“Peter Ong had an attractive tenor voice which was a joy to have in the lead role.”
Company - Dream World Productions
The Mad Scene, November 2012
—
“And of course leading man Peter Ong, Malaysian musical theatre stalwart, has smooth vocals that glide from note to note, even with a dramatic key change. Having performed in a plethora of musicals and operas, Ong has no trouble letting his vocals carry the story of Company via the lyrics he so competently sings.”
Company - Dream World Productions
blogcritics.org, November 2012
—
“Ong never leaves the stage throughout the show, and carries the entire production on his shoulders and in his tremendous vocal cords – fortunately, he rises beautifully to the challenge. His Bobby is at once cocky and heart-sore, a man who’s thoroughly living his life even as he can’t quite help feeling that it hasn’t really started yet. His charm and emotional power – which, frankly, make us all want to marry him a little – are best displayed in his fantastic rendition of Being Alive. I’ve seen Ong belt the crap out of this number on other occasions, but it’s beyond spectacular in the context of the entire show, infused as it is with Ong’s tremulous tears, fears and heartbreak.”
Company - Dream World Productions
shawneofthedead.wordpress.com, November 2012
—
“Peter Ong is charming in his portrayal of Bobby. His voice in ‘Being Alive’ was the highlight of the show, showcasing his range and trained vocals. Perhaps it is his boyish charm, but his rendition was heart-wrenching and made one question just what makes the perfect relationship. Ong made considerations to shift from his classically opera-trained voice and we wish he did not – that would have certainly made the higher notes a little rounder. Still, we did not know whether to applaud or burst into tears.”
Company - Dream World Productions
Poached Mag, November 2012
—
“Malaysian actor Peter Ong delivers a stunning performance as Bobby as he makes you believe the lead role’s trials and tribulations in committing to love someone forever. The intended superficiality in his suave tone and demeanor is mixed with a more mellow vigor not associated with the young playboy set. That Peter manages to make the sum of disparate parts believable is a superb anchor to the couples’ plots revolving around him.”
Company - Dream World Productions
Popspoken, November 2012
—
“Malaysian actor Peter Ong has a likeable stage presence with a handsome voice. He nails the big numbers with bravado and it is thrilling to hear him attack the high notes. With his boyish face and easy smile, he projects the Peter Pan, slightly caddish aspects of his character well. He is spot-on as the inoffensive Lothario, ready for good times but suspicious of commitment.”
Company - Dream World Productions
The Straits Times, November 2012
—
“Ong deserves much kudos for his dynamic portrayal of the wily producer, complete with a New York accent and peculiar facial expressions. In a role made famous by Nathan Lane, Ong had big shoes to fill, and comparisons are inevitable. But Ong pretty much nails it, comic timing and all, and his singing could not be faulted.”
The Producers - PAN Productions
The Edge, May 2013
—
“Both Ong and Chong put in spirited and zany performances as the crafty Max and innocent Leo, tackling the fast-paced dialogue and singing with ease. Despite having to contend with comparisons to Lane and Broderick who originated the characters, the two managed to put their own spin on the odd couple. Ong particularly shines during his solo confessional scene in a prison cell, which includes a hilarious self-aware moment with the audience.”
The Producers - PAN Productions
New Straits Times, May 2013
—
“The musical’s greatest strength was its wonderful cast, all of whom delighted in their roles. Ong wowed as the sleazy and charming Bialystock, delivering many of the play’s most hilarious lines with aplomb.”
The Producers - PAN Productions
The Star, May 2013
—
“Ong, one of Malaysia’s biggest stars of musicals in recent years (especially as Max in The Producers), steals every scene as Jarod. While he begins his story as the firm yet caring big brother of Josh, he soon transforms into an angry and resentful man who wants nothing to do with the troublemaker and his childish ways. Ong’s Jarod then flows into a younger version of himself, motivating Josh to excel in basketball and coaching him in driving. His facial expressions — when being driven by speed fiend Josh — are very real, too. He is also superb in a climatic scene, listing down all the good things Josh has done in his life, and unexpectedly bares his innermost demons to Josh and Lilly.”
The Edge - Monday Show Entertainment
New Straits Times, November 2013
—
"Special mention goes to Peter Ong, whose performance of 'What Makes A Man' was equal parts moving and heartbreaking."
A Singaporean In Paris - Sing'Theatre
Material World Singapore, March 2014
—
"... (whose) silky smooth tenor, however lacks the touch of ruggedness present in Peter's voice. Peter speaks with passionate articulation and sings with the same vigour, and perhaps to a further extent."
A Singaporean In Paris - Sing'Theatre
Popspoken, March 2014
__
"Although all the musical numbers were performed very impressively, there was one that stood out, head and shoulders above the rest. Peter Ong, in the role of Edmund, delivered a most emotional and chilling performance of 'What Makes A Man', that had the entire audience feeling his pain and brought some to their feet after he delivered the last emotional note."
A Singaporean In Paris - Sing'Theatre
Poached, March 2014
__
"The dashing Ong steals the limelight and is picture perfect as Frank. Ong humanises him and makes the audiences sympathise with him to a large extent, especially in a pivotal scene where he divorces his long-suffering wife Beth, and in another where he realises how Gussie has left him lonely and empty despite his fame and fortune. He fluidly “shifts” from one version of Frank to another, as the story unfolds, and the best thing is his speaking voice somewhat changes to reflect a younger and more idealistic person in each transition."
Merrily We Roll Along - PAN Productions
New Straits Times, May 2014
—
"The principal cast, helmed by Ong, Teoh and Chang, were outstanding during last Saturday's show. It was indeed a joy to watch these actors embody their characters to the fullest. Ong was amazing as the conflicted Frank. He effortlessly traced the emptiness and innocent aspirations of his character."
Merrily We Roll Along - PAN Productions
The Star, May 2014
—
"Both cast members performed admirably. Ong sent chills down spines with his rendition of If I Didn't Believe In You."
The Last Five Years - PAN Productions
The Star, October 2014
__
"Peter and Nadia put in impressive performances in conveying the emotional content of the moving musical with its entirely sung script. While deftly negotiating multiple wardrobe changes and hitting the high notes of the dynamic show, the two rose to the challenge of singing their way through the 80-minute stripped down production without an intermission."
The Last Five Years - PAN Productions
New Straits Times, October 2014
__
"(Both) intonation and pronunciation were impeccable, as was that of Kuala Lumpur-based tenor Peter Ong. He had the task of bringing to life five baroque songs, by Pelham Humphrey, John Blow, Henry Purcell, Jeremiah Clarke and William Croft, in very demanding realisations by Benjamin Britten. Their rather serious content and sombre nature could have cast a pall over the proceedings, but Ong's enormous emotional range and expressive power ensured that the message was not lost."
4th Singapore Lieder Festival
The Straits Times, October 2014
__
"The ever dependable Peter Ong gave a sympathetic performance of Horton (The Elephant)..."
Seussical The Broadway Musical - Enfiniti Vision Media
New Straits Times, December 2014
__
"Musical theatre veteran Peter Ong reprises his role from PAN Productions' first staging as the Kit Kat Klub's omnipresent Emcee, belting out the classic introductory number Wilkommen, Bienvenue, Welcome. Pulling out all the stops to host, tease and tell stories, via his multi-faceted character, Ong shines. Sometimes over-the-top, but pleasing nevertheless, he sang with a powerful voice that was well-paced and controlled.
Cabaret - PAN Productions
The Star, May 2015
__
"Peter was by far the most out-there character and relished every moment in his role as the conspicuous Emcee."
Cabaret - PAN Productions
New Straits Times, May 2015
__
"Peter Ong had the most delicious roles. Yes, roles - plural - as on top of playing the ever-present Emcee, Ong also appeared as a train conductor, club owner, and other minor characters. You need someone flamboyant and engaging as The Emcee and Ong delivered."
Cabaret - PAN Productions
The Malaysian Reserve, May 2015
__
"And while you thought this is already a wide variety, Peter then sang in French to one of Edith Piaf's tunes... His voice delights on the high notes and never fails to charm the audience, no matter the genre or language."
Peter Ong & Friends - The Actors Studio
The Malaysian Digest, August 2015
__
"The Singapore Lyric Opera is once again holding its annual Opera Ball. This exclusive event will be dedicated to the memory and in remembrance of the late Mr. Leow Siak Fah, who passed on last year. The evening will feature excerpts from operas fondly associated with him. The exciting line-up of this year's Ball includes SLO's first Honorary Artistic Director and highly renowned soprano, Nancy Yuen, as well as tenor extraordinaires Peter Ong, Melvin Tan and Reuben Lai, accompanied by distinguished pianist Rena Chua.'
Tribute to Mr Leow Siak Fah - Singapore Lyric Opera Gala
The OnlineCitizen.com 2016
___
"The three comedic caricatures, Ping, Pang and Pong, worked great in both tutti and solo passages, ... Peter Ong (as Pong) the most effective theatrically."
Turandot - Singapore Lyric Opera
The Flying Inkpot, August 2016
___
"... hugely entertaining with their onstage chemistry, Martin Ng, Raymond Lee and Peter Ong as the androgynous government ministers Ping, Pang, and Pong cut just the right comic note to balance the supercharged emotions elsewhere."
Turandot - Singapore Lyric Opera
The Straits Times Singapore, August 2016
___
"... the trio of ministers, Martin Ng, Peter Ong and Raymond Lee, gave strong individual vocalism and provided comic relief in the otherwise solemn opera. Their showpiece in Act 2, where they reminisce about their respective hometowns, was beautifully sung with all three displaying lovely legato lines. "
Turandot - Singapore Lyric Opera
The Mad Scene, August 2016
___
"Stand-outs include... Peter Ong as the official offering Lao Jiu a prestigious scholarship. The song fight between Ong's character and that of Lao Jiu is the highlight of the play."
Lao Jiu - The Theatre Practice
The Straits Times Singapore, April 2017
___
"Peter Ong's role as school principal Senior Horse brought the authority to his character, and made a showdown between him and Lao Jiu in the second half feel tense and with real stakes at hand."
Lao Jiu - The Theatre Practice
bakchormeeboy.com , April 2017
___
"The singing is buoyed by Ethel Yap's (Junior Horse) crystal-clear voice and Peter Ong's (Senior Horse) commanding presence and tenor as the principal."
Lao Jiu - The Theatre Practice
The Business Times Singapore, April 2017
___
"Singaporean tenor Reuben Lai must have gained a headful of white hair singing the Old Man, for this was the most exacting and convincing portrays of descent into psychosis even winessed on the local operatic stage. Jack Nicholson in Kubrick's cult horror movie The Shining readily comes to mind.
Opposite him, Malaysian tenor Peter Ong was the blase and not-so-innocent Boy, whose Oedipal antagonism with his father was clearly palpable. This uneasy chemistry between both stage veterans was excellent."
Purgatory - L'arietta
The Straits Times Singapore, November 2017
___
"Set, staging, lighting, choice of costumes etc. were excellent and the use of the wordless female chorus onstage provided an excellent balance and several goosebump moments to what could’ve been primarily, a bare duet between the Old Man and the Boy.
Not to say the drama was lacking between the two lead characters. Musically speaking, this is tenor Reuben Lai’s most meaty role to date. He performs with aplomb and brings to the stage a really special energy with his dramatic, dark presence. Peter Ong shone as well with his solid singing and excellent theatrical presence. The two had a fab onstage chemistry."
Purgatory - L'arietta
tayalbert.com, November 2017
___
"As the lead, the ever dependable Ong got some dramatic solo songs to sink his teeth into vocally, like Marry Me A Little, and Being Alive, which he delivered with gusto."
Company - PAN Productions
New Straits Times, July 2018
___
"...and of course, Peter Ong as Edna Turnblad delighted and tickled the audience every time he appeared."
Hairspray - TEMAN
Her World Indonesia, December 2019
___
"Playing Edna (a role traditionally played by a man) was Peter Ong. Though this comedic role could easily be played overdone, Peter's turn was impressive as his Edna was so genuine - a housewife that wants the best for her family. He gave the role a lot of heart while still bringing the laughs."
Hairspray - TEMAN
Broadway World, December 2019
___
Peter Ong
Tenor
Described as the "Consummate Artiste" (The New Straits Times, 2014) and "the most recognisable face in Malaysian musical theatre" (Arteri, 2016), Peter has performed in many operas, musicals, recitals, concerts, revues, and events. He has appeared on stages all over Asia including Malaysia, Singapore, Thailand and Australia. In 2015, Peter had the honour of performing at the ASEAN Summit Gala Dinner attended by all ASEAN Heads Of State as well as President Barrack Obama of the United States of America as well as Prime Minister Li Keqiang of China. Here are some press snippets of previous roles on stage:
“Peter Ong stole the show early on as Goro... his silky lyric tenor is effortless and natural, and he uses it well, to expressive ends. I was very impressed with his abilities and would really like to see more of him in the future.”
Madama Butterfly – Singapore Lyric Opera
The Flying Inkpot, May 2005
—
“A dramatic impact was made by Peter Ong’s Goro with his judicious use of insidiousness and pragmatism.”
Madama Butterfly – Singapore Lyric Opera
The Straits Times, May 2005
—
“Peter Ong endowed the role of Don Ottavio with eloquence as well as lyricism.”
Don Giovanni – Bangkok Opera
Opera Magazine, April 2005
—
“...Ong snarls and growls all the way in his memorable performance as the Big Bad Wolf.”
Always In Wonderland? - PAN Productions
The Star, August 2010
—
“Ong’s Big Bad Wolf was clearly the star among the men, with his excessive masculinity right down to the growls”
Always In Wonderland? - PAN Productions
New Straits Times, August 2010
—
“Among the solo performances, Peter Ong stood out with his heartfelt rendition of Bring Him Home from Les Miserables.””
Sparks of Broadway - Farah Sulaiman
The Star, July 2010
—
“Great singers impress you every time, and the likes of Peter Ong singing ‘Bring Him Home’ from ‘Les Miserables’ made shivers run down the audiences’ spine.”
Sparks of Broadway - Farah Sulaiman
Just Dance Magazine, October 2010
—
“The most fun you will have at the show is during Ong’s songs...”
Cabaret - PAN Productions
The Star, May 2011
—
“The undisputed star... was Peter Ong, who was simply fantastic as the flamboyant, androgynous Emcee, stealing the show with his outrageous outfits and wild behaviour. Managing to be both likeable as well as menacing, Ong’s performances – particularly in The Money Song and If You Could See Her – were a delight, often serving as sharp commentary on human behavior as well as the events of the play.”
Cabaret - PAN Productions
Selangor Times, June 2011
—
“The one character that no one could ignore was The Emcee, played with unbridled panache by Ong.”
Cabaret - PAN Productions
New Straits Times, May 2011
—
“From the moment the Emcee sings the opening line ‘Wilkommen, Bienvenue, Welcome’, you knew this production meant business. Mr. Ong as the Emcee maintained superb confidence and a presence unmatched by anyone else in the cast. His role is probably the show’s most challenging; the Emcee is an omnipresent personality who is host, tease, commentator, comedian, oppressor, victim and storyteller—a chameleon in appearance and character. Mr. Ong deftly, deliciously and magnificently showcased the ease, aplomb and showmanship that only a stage vet could possess (not to mention an impressive faux German accent). He made the role his own with flair and sang with a voice that was both controlled in its pacing and powerful in its reach—I dare say his performance alone would have justified the ticket price.”
Cabaret - PAN Productions
We Are Malaysian Made, May 2011
—
“...but the star of Cabaret from the first moment the show started was the larger than life Emcee. The role was made for someone with Peter’s talent. Already known for his vocal prowess with local opera companies, Peter's Latin Dance background and acting chops helped sell the outlandish character as he sings, dances, teases, cajoles and shocks the audience with his words and misdeeds.”
Cabaret - PAN Productions
Just Dance Magazine, July 2011
—
“The actors were also impressive... Ong delivered as the Scarecrow.”
The Wizard of Oz - PAN Productions
The Star, May 2012
—
"Malaysian tenor Peter Ong closed accounts with Wolf's two Pelegrina lieder and the prayer-like Gebet, impressing with his enormous range and depth of feeling. The final number Abschied (Farewell) was no Mahlerian tear-jerker between departing lovers but a final riposte by adversaries, with an uproarious send-up to the Viennese Waltz. Both singer and pianist hammed it up for an upbeat and spirited close."
2nd Singapore Lieder Festival
The Straits Times, September 2011
—
“Peter Ong had an attractive tenor voice which was a joy to have in the lead role.”
Company - Dream World Productions
The Mad Scene, November 2012
—
“And of course leading man Peter Ong, Malaysian musical theatre stalwart, has smooth vocals that glide from note to note, even with a dramatic key change. Having performed in a plethora of musicals and operas, Ong has no trouble letting his vocals carry the story of Company via the lyrics he so competently sings.”
Company - Dream World Productions
blogcritics.org, November 2012
—
“Ong never leaves the stage throughout the show, and carries the entire production on his shoulders and in his tremendous vocal cords – fortunately, he rises beautifully to the challenge. His Bobby is at once cocky and heart-sore, a man who’s thoroughly living his life even as he can’t quite help feeling that it hasn’t really started yet. His charm and emotional power – which, frankly, make us all want to marry him a little – are best displayed in his fantastic rendition of Being Alive. I’ve seen Ong belt the crap out of this number on other occasions, but it’s beyond spectacular in the context of the entire show, infused as it is with Ong’s tremulous tears, fears and heartbreak.”
Company - Dream World Productions
shawneofthedead.wordpress.com, November 2012
—
“Peter Ong is charming in his portrayal of Bobby. His voice in ‘Being Alive’ was the highlight of the show, showcasing his range and trained vocals. Perhaps it is his boyish charm, but his rendition was heart-wrenching and made one question just what makes the perfect relationship. Ong made considerations to shift from his classically opera-trained voice and we wish he did not – that would have certainly made the higher notes a little rounder. Still, we did not know whether to applaud or burst into tears.”
Company - Dream World Productions
Poached Mag, November 2012
—
“Malaysian actor Peter Ong delivers a stunning performance as Bobby as he makes you believe the lead role’s trials and tribulations in committing to love someone forever. The intended superficiality in his suave tone and demeanor is mixed with a more mellow vigor not associated with the young playboy set. That Peter manages to make the sum of disparate parts believable is a superb anchor to the couples’ plots revolving around him.”
Company - Dream World Productions
Popspoken, November 2012
—
“Malaysian actor Peter Ong has a likeable stage presence with a handsome voice. He nails the big numbers with bravado and it is thrilling to hear him attack the high notes. With his boyish face and easy smile, he projects the Peter Pan, slightly caddish aspects of his character well. He is spot-on as the inoffensive Lothario, ready for good times but suspicious of commitment.”
Company - Dream World Productions
The Straits Times, November 2012
—
“Ong deserves much kudos for his dynamic portrayal of the wily producer, complete with a New York accent and peculiar facial expressions. In a role made famous by Nathan Lane, Ong had big shoes to fill, and comparisons are inevitable. But Ong pretty much nails it, comic timing and all, and his singing could not be faulted.”
The Producers - PAN Productions
The Edge, May 2013
—
“Both Ong and Chong put in spirited and zany performances as the crafty Max and innocent Leo, tackling the fast-paced dialogue and singing with ease. Despite having to contend with comparisons to Lane and Broderick who originated the characters, the two managed to put their own spin on the odd couple. Ong particularly shines during his solo confessional scene in a prison cell, which includes a hilarious self-aware moment with the audience.”
The Producers - PAN Productions
New Straits Times, May 2013
—
“The musical’s greatest strength was its wonderful cast, all of whom delighted in their roles. Ong wowed as the sleazy and charming Bialystock, delivering many of the play’s most hilarious lines with aplomb.”
The Producers - PAN Productions
The Star, May 2013
—
“Ong, one of Malaysia’s biggest stars of musicals in recent years (especially as Max in The Producers), steals every scene as Jarod. While he begins his story as the firm yet caring big brother of Josh, he soon transforms into an angry and resentful man who wants nothing to do with the troublemaker and his childish ways. Ong’s Jarod then flows into a younger version of himself, motivating Josh to excel in basketball and coaching him in driving. His facial expressions — when being driven by speed fiend Josh — are very real, too. He is also superb in a climatic scene, listing down all the good things Josh has done in his life, and unexpectedly bares his innermost demons to Josh and Lilly.”
The Edge - Monday Show Entertainment
New Straits Times, November 2013
—
"Special mention goes to Peter Ong, whose performance of 'What Makes A Man' was equal parts moving and heartbreaking."
A Singaporean In Paris - Sing'Theatre
Material World Singapore, March 2014
—
"... (whose) silky smooth tenor, however lacks the touch of ruggedness present in Peter's voice. Peter speaks with passionate articulation and sings with the same vigour, and perhaps to a further extent."
A Singaporean In Paris - Sing'Theatre
Popspoken, March 2014
__
"Although all the musical numbers were performed very impressively, there was one that stood out, head and shoulders above the rest. Peter Ong, in the role of Edmund, delivered a most emotional and chilling performance of 'What Makes A Man', that had the entire audience feeling his pain and brought some to their feet after he delivered the last emotional note."
A Singaporean In Paris - Sing'Theatre
Poached, March 2014
__
"The dashing Ong steals the limelight and is picture perfect as Frank. Ong humanises him and makes the audiences sympathise with him to a large extent, especially in a pivotal scene where he divorces his long-suffering wife Beth, and in another where he realises how Gussie has left him lonely and empty despite his fame and fortune. He fluidly “shifts” from one version of Frank to another, as the story unfolds, and the best thing is his speaking voice somewhat changes to reflect a younger and more idealistic person in each transition."
Merrily We Roll Along - PAN Productions
New Straits Times, May 2014
—
"The principal cast, helmed by Ong, Teoh and Chang, were outstanding during last Saturday's show. It was indeed a joy to watch these actors embody their characters to the fullest. Ong was amazing as the conflicted Frank. He effortlessly traced the emptiness and innocent aspirations of his character."
Merrily We Roll Along - PAN Productions
The Star, May 2014
—
"Both cast members performed admirably. Ong sent chills down spines with his rendition of If I Didn't Believe In You."
The Last Five Years - PAN Productions
The Star, October 2014
__
"Peter and Nadia put in impressive performances in conveying the emotional content of the moving musical with its entirely sung script. While deftly negotiating multiple wardrobe changes and hitting the high notes of the dynamic show, the two rose to the challenge of singing their way through the 80-minute stripped down production without an intermission."
The Last Five Years - PAN Productions
New Straits Times, October 2014
__
"(Both) intonation and pronunciation were impeccable, as was that of Kuala Lumpur-based tenor Peter Ong. He had the task of bringing to life five baroque songs, by Pelham Humphrey, John Blow, Henry Purcell, Jeremiah Clarke and William Croft, in very demanding realisations by Benjamin Britten. Their rather serious content and sombre nature could have cast a pall over the proceedings, but Ong's enormous emotional range and expressive power ensured that the message was not lost."
4th Singapore Lieder Festival
The Straits Times, October 2014
__
"The ever dependable Peter Ong gave a sympathetic performance of Horton (The Elephant)..."
Seussical The Broadway Musical - Enfiniti Vision Media
New Straits Times, December 2014
__
"Musical theatre veteran Peter Ong reprises his role from PAN Productions' first staging as the Kit Kat Klub's omnipresent Emcee, belting out the classic introductory number Wilkommen, Bienvenue, Welcome. Pulling out all the stops to host, tease and tell stories, via his multi-faceted character, Ong shines. Sometimes over-the-top, but pleasing nevertheless, he sang with a powerful voice that was well-paced and controlled.
Cabaret - PAN Productions
The Star, May 2015
__
"Peter was by far the most out-there character and relished every moment in his role as the conspicuous Emcee."
Cabaret - PAN Productions
New Straits Times, May 2015
__
"Peter Ong had the most delicious roles. Yes, roles - plural - as on top of playing the ever-present Emcee, Ong also appeared as a train conductor, club owner, and other minor characters. You need someone flamboyant and engaging as The Emcee and Ong delivered."
Cabaret - PAN Productions
The Malaysian Reserve, May 2015
__
"And while you thought this is already a wide variety, Peter then sang in French to one of Edith Piaf's tunes... His voice delights on the high notes and never fails to charm the audience, no matter the genre or language."
Peter Ong & Friends - The Actors Studio
The Malaysian Digest, August 2015
__
"The Singapore Lyric Opera is once again holding its annual Opera Ball. This exclusive event will be dedicated to the memory and in remembrance of the late Mr. Leow Siak Fah, who passed on last year. The evening will feature excerpts from operas fondly associated with him. The exciting line-up of this year's Ball includes SLO's first Honorary Artistic Director and highly renowned soprano, Nancy Yuen, as well as tenor extraordinaires Peter Ong, Melvin Tan and Reuben Lai, accompanied by distinguished pianist Rena Chua.'
Tribute to Mr Leow Siak Fah - Singapore Lyric Opera Gala
The OnlineCitizen.com 2016
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"The three comedic caricatures, Ping, Pang and Pong, worked great in both tutti and solo passages, ... Peter Ong (as Pong) the most effective theatrically."
Turandot - Singapore Lyric Opera
The Flying Inkpot, August 2016
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"... hugely entertaining with their onstage chemistry, Martin Ng, Raymond Lee and Peter Ong as the androgynous government ministers Ping, Pang, and Pong cut just the right comic note to balance the supercharged emotions elsewhere."
Turandot - Singapore Lyric Opera
The Straits Times Singapore, August 2016
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"... the trio of ministers, Martin Ng, Peter Ong and Raymond Lee, gave strong individual vocalism and provided comic relief in the otherwise solemn opera. Their showpiece in Act 2, where they reminisce about their respective hometowns, was beautifully sung with all three displaying lovely legato lines. "
Turandot - Singapore Lyric Opera
The Mad Scene, August 2016
The Mad Scene, August 2016
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"Stand-outs include... Peter Ong as the official offering Lao Jiu a prestigious scholarship. The song fight between Ong's character and that of Lao Jiu is the highlight of the play."
Lao Jiu - The Theatre Practice
The Straits Times Singapore, April 2017
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"Peter Ong's role as school principal Senior Horse brought the authority to his character, and made a showdown between him and Lao Jiu in the second half feel tense and with real stakes at hand."
Lao Jiu - The Theatre Practice
bakchormeeboy.com , April 2017
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"The singing is buoyed by Ethel Yap's (Junior Horse) crystal-clear voice and Peter Ong's (Senior Horse) commanding presence and tenor as the principal."
Lao Jiu - The Theatre Practice
The Business Times Singapore, April 2017
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"Singaporean tenor Reuben Lai must have gained a headful of white hair singing the Old Man, for this was the most exacting and convincing portrays of descent into psychosis even winessed on the local operatic stage. Jack Nicholson in Kubrick's cult horror movie The Shining readily comes to mind.
Opposite him, Malaysian tenor Peter Ong was the blase and not-so-innocent Boy, whose Oedipal antagonism with his father was clearly palpable. This uneasy chemistry between both stage veterans was excellent."
Purgatory - L'arietta
The Straits Times Singapore, November 2017
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"Set, staging, lighting, choice of costumes etc. were excellent and the use of the wordless female chorus onstage provided an excellent balance and several goosebump moments to what could’ve been primarily, a bare duet between the Old Man and the Boy.
Not to say the drama was lacking between the two lead characters. Musically speaking, this is tenor Reuben Lai’s most meaty role to date. He performs with aplomb and brings to the stage a really special energy with his dramatic, dark presence. Peter Ong shone as well with his solid singing and excellent theatrical presence. The two had a fab onstage chemistry."
Not to say the drama was lacking between the two lead characters. Musically speaking, this is tenor Reuben Lai’s most meaty role to date. He performs with aplomb and brings to the stage a really special energy with his dramatic, dark presence. Peter Ong shone as well with his solid singing and excellent theatrical presence. The two had a fab onstage chemistry."
Purgatory - L'arietta
tayalbert.com, November 2017
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"As the lead, the ever dependable Ong got some dramatic solo songs to sink his teeth into vocally, like Marry Me A Little, and Being Alive, which he delivered with gusto."
Company - PAN Productions
New Straits Times, July 2018
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"...and of course, Peter Ong as Edna Turnblad delighted and tickled the audience every time he appeared."
Hairspray - TEMAN
Her World Indonesia, December 2019
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Hairspray - TEMAN
Broadway World, December 2019
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