The New York Times was excellent:

“Singularly captivating. Zero Hour is a success. Brochu is the spitting image of the bearish Mostel, down to the strands of hair barely covering his head. His wildly expressive gestures are particularly spot on. It brings Mostel back to life, just the way his fans want him.”


The Associated Press was wonderful:

“Very funny. Brochu's living restoration has brought Mostel's larger-than-life personality back into the spotlight for a laugh-filled, much-welcomed presentation.”


The New Yorker was a Rave:

“It all flows and provides plenty of big laughs as well as hushed drama. After a while, you stop caring whether a particular line is Brochu’s or Mostel’s; all you know is that you’ve been privy to the work of a great comedian.”


TIME OUT New York gave us Critics Pick and FOUR STARS:

"We owe Jim Brochu a debt of gratitude for Zero Hour, an extraordinary act of reincarnation that restores the outsize actor to us in all of his daunting dimensions. From the moment that Brochu spins around to face the audience, he is a Hirschfeld drawing come to pulsing life! You can’t help being swept up in the tornado of energy as Brochu’s star turn conjures forth a Zero larger than life and death.”


The New York Post loved it with THREE STARS:

“The rumors of Zero Mostel's death have apparently been greatly exaggerated. Jim Brochu recalls his subject so uncannily in looks, voice and anarchic spirit that one immediately wants to see him in revivals of "Forum" and "Fiddler." Thirty-two years after Mostel's untimely death, it's a pleasure to have him back on the boards.”


Variety was terrific:

“Frequently funny and always engaging, Brochu evokes the kind of prickle on the back of the neck usually delivered by David Lynch movies.”


Peter Filichia, columnist at Theatremania:

“At Zero Hour, I actually had one of those marvelous theatrical moments that people always claim to have: I suddenly realized that I’d been accepting Jim Brochu as Zero Mostel to the point where I’d forgot I wasn’t watching Zero Mostel.”

David Finkle's full review at Theatremania:


“Brochu’s performance is tantamount to a reincarnation. From head to toe, he's got it right. Often belly-laugh funny, there's a show-business saying that it takes a star to play a star. By that reckoning, mark down Jim Brochu as a truly big star.”


BroadwayStars raved:

"Zero Hour, written by and starring Jim Brochu -- and directed by Piper Laurie! --
is just as great as I'd heard it was from everyone I know who saw it before I did.


NY Theatre Scene was sensational:

“Brochu not only takes on Mostel's story, but he literally climbs into his skin with tufts of white hair, fierce eyes, and Mostel’s huge bulk. But it is the portrayal, not just the surface attributes, which is so convincing.”


Backstage gave it a Critics Pick:

“Never less than engrossing, Brochu not only creates an astonishing physical resemblance, capturing Mostel's distinctive body language and vocal patterns; he goes deep under the skin to reveal the man's complicated psyche and conflicted soul.”


The Wolf Entertainment Guide was over the top:

“Electrifying! The amazing performance hold’s one’s attention and engenders appreciation both for what Brochu has accomplished and for the special character and talented performer that Mostel was.”


The Examiner was off the charts:

“Zero Hour is not to be missed. This production is a triumph of writing and performance and I can't decide which is more brilliant. If you are a fan of the theater, of great performance, masterful writing and top notch direction, Zero Hour is a must see for this theater season.”


A Rave from BroadwayWorld:          

“The scenario allows us to see Mostel as the public remembers him; an outrageously larger than life figure who is continually performing and will do anything for a laugh. It is brilliant, defiant and highly entertaining.”


Broadway After Dark was terrific:

“It's a tough job to take on the mantle of someone who is usually remembered as being much larger then life, but that's exactly what Jim Brochu is able to do in his fascinating one-man show. “Zero Hour" is a very involving which grabs and holds the audience's attention from the world "go."


Jewish Forward:

"What do you know about Zero Mostel? If all you know is that he was the original Tevye in “Fiddler on the Roof,” Jim Brochu’s (pronounced Bro-shu) one-man show, “Zero Hour,” introduces you to the real force that provides this excuse for a tour-de-force role. Brochu’s Mostel is a gentle bear of a person, whose insults are always funnier than they are mean. He’s an innocent, a holy clown, so his sorrows are all the more affecting."


Soundoff.Com Reviews gave us FOUR STARS:

If heavy burdens are all Mostel had in his closet, Brochu certainly wears them well.  His shortness of breath, the flashes of anger in the eyes, the need to grab his despair by the shoulders and shake until he comes to his senses, all these come to life in Brochu’s veins.  Through writing that is colorful, witty, well-paced, and organic, and acting that is masterfully precise - in Brochu’s capable hands, Mostel is a work of art.


The Curtain Up review is marvelous:

“Zero Hour is an informed, absorbing, highly entertaining one-person play written by and also starring Jim Brochu who stops just short of bringing Mostel back to life.”


Upstage-Downstage Theatre Reviews Says:

“Let me be unambiguous: Zero Hour is the best one-person play since I Am My Own Wife. It is as rich and compelling a story as you will see on or off Broadway right now.”


The Third New York Guide wrote:

“Zero Hour is one of those absolutely striking one-man shows, this time about Zero Mostel. Brochu is amazing, nothing short of sensational as Mostel. He captures Mostel's spirit, his explosive, larger than life anger, and his incredible, side-splitting sense of humor.”


The Brooklyn Blog was great:

“Many stories emerge from the fascinating life of Sam "Zero" Mostel as brilliantly portrayed by Jim Brochu in his passionate and very funny play, "Zero Hour.”



The Opening Night Party was Covered at Time Square Gossip:


And on Playbill:


 The Pre-Opening Article by Peter Filichia was very touching: