Tom Williams, Author at Theatre reviews

The Last Wife

Kate Henning’s drama focuses on the character of King Henry as Steve Pickering plays him as a tough, commanding despot who appreciates a strong woman if they are sexy and ultimately loyal. This Henry is, indeed, king who is willing to use his power however he desires. His love for Kate allows her to be more that a nurse-mate to his three children. Rather he elevates her to political power due to her loyalty and competence. She emerges as an almost equal in an age when most women spent their time knotting. Kate open the doors (literally) for Mary and Elizabeth to govern.

MUST SEE REVIEWS Theatre Reviews Tom Williams

Tom Williams

Hand To God

This manically paced comedy id fueled by grief and dysfunctional family relations yet it is one of the cleverest and witty comedies in years! Alex Weisman give a tour de force performance as Jason/Tyrone, Who knew that Weisman could manipulate his hand puppet with such spot-on timing and change voices instantly between Jason and Tyrone. Add his deft physicality and we have a fabulous comic performance. Weisman can add comic performer (and puppeteer0 to his resume.

REVIEWS Theatre Reviews

Tom Williams

Fantasy Land for Dummies

If avant-garde, absurdist-cum-intellectual theatre with socio-political spice doesn’t sound like your fantasy of choice, I would encourage you to reconsider: having once been suspicious of “avant-garde” theatre, and being none too impressed by the typical fare of Chicago theatres’ socio-political commentary, I write with confidence that Trap Door offers something truly fresh and interesting in their curious productions. And while maybe not their strongest production to date, Fantasy Island for Dummies is still more exciting, exploratory, and entertaining than most — so long as you’re willing to dive into the oddly fantastical.

Music Reviews Opera REVIEWS Tom Williams

Tom Williams

The Love Potion (Le Vin Herbe)

Sung in English (translation by Hugh MacDonald) with a large video depicting the story with a huge English super titles, The Love Potion works well. Featuring music that sounds like film underscoring rich in piano and string sounds, The Love Potion’s singing makes the story come alive. The 12 person ensemble (a kind of Greek chorus) sounded terrific and the leads led the way.

From tenor Bernard Holcomb’s Tristan to soprano Lani Stait’s Isolde to baritone Nicholas Davis’ King Mark, these featured artists carried the opera with their expressively skilled voices

Beverly Friend REVIEWS Theatre Reviews

Tom Williams

Tony n’ Tina’s Wedding

Under the fine direction of Paul Stroili, the large Chicago cast of 23 is
terrific — capturing all the nuances of a family gathering, complete with
vulgarities and squabbles. Stroili was a member of the Original Chicago
Company. Vinnie (Brian Noonan) is a very believable restaurateur, hosting
the gathering, touting its virtues as he tries to promote future business,
and emceeing the various entertainers. A good time was had by all.

REVIEWS Theatre Reviews Tom Williams

Tom Williams

Bobbie Clearly

This play is so unbelievable, under developed and misguided that I’m thinking that it is really a parody of small town murder mysteries? With so many preposterous plot twists and so many wacky characters (more than I have mentioned here.), What else could it be? As a world premiere, Playwright Alex Lubischer needs to refocus what his play is actually about. As presented, my conclusions could be valid? If he wants to leave audiences with another impression than he needs to make that clearer. As it plays now Bobbie Clearly is confusing.

REVIEWS Sally Jo Osborne Theatre Reviews

Tom Williams

“The Bardy Bunch”

I think this show may have a cult following that will find it to be “out of sight”! Me? Not so much. The show is 1 hour and 45 minutes without an intermission and perhaps if there were less dancing spirits and blood soaked costumes it could be shaved down to 80 minutes. I do not recommend that you bring children to this show unless you want to pay for therapy later in life (there should be a minimum age requirement).

REVIEWS Theatre Reviews Tom Williams

Tom Williams

Visiting Edna

Slowly, with many long speeches by Edna reminiscing about past events particularly those involving Andrew, we get hints as to what is the angst Andrew feels toward Edna and his dead father. Communicating, searching for relevant connections and struggling to make peace as time depletes Edna’s life is the play’s focus. The early scenes quickly become tedious as we hear Edna ramble on and on.

MUST SEE REVIEWS Theatre Reviews Tom Williams

Tom Williams

Tug of War: Civil Strife

… on September 25 from 1 pm to 7 pm at Navy Pier with Gaines’ second installment of her ode to The Bard’s histories: Tug of War: Civil Strife. I enjoyed this show more than the first one. Maybe because of the music seemed to be more a tad softer, more melancholy or maybe because my three favorite classical actors had major roles : Larry Yando, Kevin Gudahl and Timothy Edward Kane? Whatever the reason, Tug of War: Civil Strife was a thrilling event that I’m glad I was able to cover this. Kudos to Chicago Shakespeare for having the chutzpah to mount two historical marathon dramas in the same season!

REVIEWS Theatre Reviews

Tom Williams

Bleacher Bums

I can only imagine that Open Space thought a production of Bleacher Bums would be a commercial guarantee given its timeliness because, apart from the elaborate bleacher set, very little thought seems to have gone into this show. The most apparent and pervasive misstep in the production is its failure to make the baseball game a visceral reality. With no other crowd sounds other than the actors, the setting felt empty and devoid of energy; and the actors themselves, apart from Erik Burke as the zealously impassioned Cheerleader, brought little conviction to the game’s reality and only intermittent enthusiasm for its progress — and when there was action occurring on the field the actors oftentimes looked in different directions! (Was this supposed to be funny?) Moreover, the Wrigley Field scoreboard was a static projection of a JPEG image, so it never changed score, batter, count — anything. Why? A commentary on the sometimes-interminable feeling of baseball games? A la Beckett’s “Waiting for Santo”?