Othello @ The Singapore Rep Theatre

“Daniel Francis exemplified the role of Othello. Francis portrayed most convincingly a man who was enraged, confused, and losing control of himself and things happening around him.”

—Poached Magazine

“Francis effectively conveys a sense of latent violence coiled, like a snake in a basket, and ready to strike: his impressive physique, physical swagger and glint of white teeth in a dangerous, semi-snarl every time he smiled at those who crossed him testified to a ferocity in the Moor’s psychological make-up that makes it easy to see why, once his suspicions about Desdemona’s fidelity are aroused, his thoughts swiftly turn bloody.”

—The Flying Inkpot


Blackta @ The Young Vic

“Daniel Francis’s Black combines menace with a droll insecurity”

—London Evening Standard

“Daniel Francis’s possibly gay Black, an ageing mix of aggression and insecurity, trapped in a muscled macho stereotype”

—The Independent

“There are many great aspects to this play, it is funny, well written and every character gives a wonderful performance, especially Daniel Francis as Black, his anger and frustration is so palpable, as is his shame at the things he has to go through to make a name for himself amongst his peers and the industry.”



The Brother's Size @ The Young Vic

“Daniel Francis as Ogun and Tunji Kasim as Oshoosi lance their sibling sparring and fractious fraternity in a sublime, rhythmically shifting version of Otis Redding’s ‘Try a Little Tenderness.'”

—What’s On Stage

“The acting is also flawless: Daniel Francis perfectly captures the loving, often exasperated older brother.”

—The Tribune


Off The Endz @ Royal Court

“Daniel Francis brings out the spiritual weakness of the success-driven Kojo and Lorraine Burroughs exudes angry resilience as Sharon.”

—The Guardian

“Daniel Francis memorably captures Kojo’s agonized vacillation between his wife and his dangerous friend.”

—The Telegraph

“The excellent Daniel Francis”

—The Independent

“The whole cast is excellent, Daniel Francis effectively conveys Kojo’s frustration at his increasingly desperate situation.”



One Monkey Don't Stop No Show — National Tour

“A strong cast brings life to a well-written script, with standout performances from Daniel Francis and Ayesha Antoine as the feisty Beverley.”

—Lippy Mag

“Antoine is not alone in a stellar performance. Beverley’s guardian and love interest Caleb Johnson is played with experience by Daniel Francis, establishing the early comedy of the play and seamlessly raising and breaking the tensions of the inner- ethnic divide at will.”

—Forge Today


The Hounding of David Oluwale — National Tour

“There is a central performance of immense gravity and guile from Daniel Francis, who is at one moment a confident young man with the world at his feet, the next a persecuted vagrant at the foot of the establishment.”

—The Guardian

“Stand-out performances came from Daniel Francis, in the title role.”

—The Public Reviews

“Daniel Francis plays Oluwale as an energetic figure of considerable panache. It is a brilliant performance. His changes between the living and dead Oluwale are superb.”

—British Theatre Guide

“5 stars. Playing David Oluwale is Daniel Francis”

—Jane Morgan Associates

“Commanding central performance from Daniel Francis”

—Matt Trueman

“Daniel Francis is stunning as the lead. Portraying the twitches and convulsions of a man subjected to powerful medication, shock treatment and continual beatings, he physically conveys the inhumane treatment of those deemed to be different. His contagious charisma in the scenes before and shortly after his arrival in the UK only makes his subsequent degeneration more haunting.”

—Hackney Post

“As David, Daniel Francis gives a vibrant and compelling performance, from the gleefully ambitious, all-dancing, all-joking youth to the agonised victim, plus the wise commentator from beyond the grave. His scenes with Ryan Early’s Perkins, a finely judged study of controlled intensity, are particularly challenging.”

—What’s On Stage

“Daniel Francis as Oluwale admirably shifts between past and present, descending into illness and decrepitude with painful precision; you almost want to turn away from the man as he cries for his faraway mother, his lost home, and his lost sense of self.”