Tom Williams

Tom Williams founded ChicagoCritic.com in 2001 and spent decades reviewing theatre and live performance across Chicago and its suburbs, from Broadway tours and major institutions to storefront theatre, opera, cabaret and classical music. In 2010, the Society of Midland Authors honored him with the James Friend Memorial Award for Literary and Dramatic Criticism (our 2010 announcement). Concord Theatricals quotes his reviews on its licensing pages for shows including Crazy for You and City of Angels.

Amadeus at Boho Theatre

March 15, 2014February 21, 2014 by Tom Williams

Director Peter Marston Sullivan has created the proper passionate tone to highlight Peter Shaffer’s fictional account of Antonio Salieri’s relationship with Wolfgang Amadeus Mozart. The result is Amadeus, a rivetingly emotional gem.

Anchored by the in depth and glib work of Steve O’ Connell as Antonio Saleri and Chris Ballou as Wolfgang Amadeus Mozart, Amadeus brings us into the fascinating world of Mozart as he strives for fortune and fame in Vienna at the court of Hapsburg Austrian Emperor Joseph II (David Tibble) in the late 1780’s.

Buzzer

February 20, 2014 by Tom Williams

In its finest moments, Buzzer deals with interracial relationships, white fear of black men on street corners as well as interpersonal trust. We see the struggles of addiction and how that effects the trust of those close to the addict. We also get a glimpse into how gentrification causes class problems as the poor resent the wealth whites and how those folks fear the street folks.

Happy

March 15, 2014February 18, 2014 by Tom Williams

Happy looks at the life choices we make and asks: are we really happy or are we putting up a facade to convince ourselves and others that, indeed, we are happy? Caisley creates two stinging characters to probe his concept of ‘ happy.’

Russian Transport

February 17, 2014 by Tom Williams

Erika Sheffer, herself the child of Ukrainian Jewish immigrants, has developed two generations of characters each striving to both survive and get their share of the American Dream. She addresses the decision the family must make: How far are they willing to go to come out on top – to survive? Is money the ultimate measurement of success? Does family survival trump all ethics? Does the family needs justify doing evil acts toward others as long as it doesn’t hard the family? Does the scares from having nothing justify the amoral accumulation of wealth?

Assistance

March 14, 2014February 16, 2014 by Tom Williams

Much of the show consists of the assistants talking on the phone to Daniel and his contacts. That can become annoying. But we see how the degrading work can wear out the weak yet salary is not considered into the decision to leave by one of the assistants. Ambition and self esteem dominate.

GYPSY at Chicago Shakespeare Theater

March 15, 2014February 14, 2014 by Tom Williams

Any production of GYPSY depends on who plays Mama Rose. I happy to report that Louise Pitre is outstanding (one of the best to every play the role!). Her strong, emotionally determined stage mother, commands all her scenes. She is small in height but a giant in her scenes. When Pitre arrives on stage, all eyes go to the dynamic woman. Pitre’s singing was smooth and heartfelt with a deep emotional base. especially when she blurts out “Sing Out, Louise” as storms onto the stage. We know instantly that Rose is in charge here.

Into the Woods by the-hypocrites

March 15, 2014February 13, 2014 by Tom Williams

So be warned, this Into The Woods is substantially reinvented in that it features loads of campy humor (much more than the original) and it has most of the players playing multiple roles including many playing the same role at different times. Also, note for some strange reason. director Geoff Button cast players who are extremely vocally challenged- many of them can only sing off key or mumble through their songs sounding like chip monks.

The Playboy of the Western World at Raven Theatre

September 6, 2017February 11, 2014 by Tom Williams

Playboy is a look into the lower class rural Irish life filled with repressed sexuality, boredom and narrow-mindedness. One of the major indictments Synge makes of the rural Irish is their love for violence and their need for alcohol. The stage combat is thrilling and quite funny..

I was particularly impressed with several performances: Sam Hubbard’s Christy was charismatic and slick while Jen short’s Pegeen Mike was the strong Irish woman and Graham Emmons’ Shawn Keogh was the funny coward afraid of everyone. But Lawrence Garner’s scary yet hilarious Old Mahon topped them all!

Chicago’s Golden Soul (A 60’s Revue)

March 15, 2014February 11, 2014 by Tom Williams

Black Ensemble Theater, under the hyper leadership of Jackie Taylor have re-mounted their Chicago’s Golden Soul (A 60’s Revue) now playing in repertory with The Story of Curtis Mayfield. Golden Soul contains a rich assortment of Chicago style soul featureing the music of jerry Butler, Curtis Mayfield, Gene Chandler, Major Lance, The Impressions, Betty Everett, Barbara Aklin, Etta James and the Chi Lites.

The Tempest

May 27, 2014February 11, 2014 by Tom Williams

Shakespeare final full play,The Tempest is now running at City Lit with a talented and dedicated group of actors who articulate The Bard’s poetic language with verve and aplomb. Filled with terrific period costumes including vivid threads for the Spirits, director Sheldon Patinkin’s deftly staged and superbly cast with non-Equity players who garner all the humor and zaniness of the work.