Press

Million Dollar Quartet (Carl Perkins)

Marie J. Kilker, TotalTheater.com

“Ben Williams' songwriter Carl Perkins amazes as a rockabilly musician. He's phenomenal at moving [physically] as well as metaphorically via his virtuosity on electric guitar. He equally succeeds at dramatics and brief use of a harmonica."

William S. Oser, Talkin' Broadway

“Ben Williams playing Carl Perkins is an accomplished [guitar] player, really contributing fine moments to all the musical selections. He is also called upon to do more detailed acting -- the character is moody, competitive, loving and jealous at the same time, just a kaleidoscope of youthful emotions, and he does a great job portraying him."

Marty Fulgate, YourObserver.com

“Ben Williams lays down blistering guitar licks as Carl Perkins... Williams' R&B guitar-god Perkins, seething that he's not the flavor of the month, shriveling in Elvis' thermonuclear heat...

Jay Handelman, Herald-Tribune

“The music is fun and played with such verve that at times you feel you're really watching the birth of greatness... talented performers... performances that make you feel a connection to the artists.

Kay Kipling, Sarasota Magazine

“... talented musicians..."

Last Gas (Nat Paradis)

James F. Cotter, Times Herald-Record

“... fascinating to watch..."

Oswald: The Actual Interrogation (Lee Harvey Oswald)

Lawson Taitte, Dallas Morning News

“Ben Williams gives Oswald the kind of aura that might have suited another young man in a T-shirt, movie star James Dean... Williams gives an impressive interpretation of the part."

Punch Shaw, Fort Worth Star-Telegram

“This show, directed by Casey Hushion, features excellent acting, especially from leads Ben Williams, as Oswald, and Ed Dixon as [Captain Will] Fritz. The former captures the smug arrogance (slightly undermined by an almost invisible current of fear) of his subject."

Elaine Liner, Dallas Observer

“Actor Williams has done his homework, eerily mimicking Oswald's clipped consonants and curt attitude as he tells reporters he's an innocent “patsy”.”

Jan Farrington, TheatreJones.com

“As Oswald, Williams (whose other roles have included Hamlet and Johnny Cash) conveys the heat and chill of Oswald's contradictory persona with an unsettling intensity. We see him in the moments after his arrest, bruised from a battle with the police – and hotly demanding his rights. Under interrogation, he is coldly contemptuous of the police one moment – “you people” have it all wrong, nothing “will stick to me” – and then spittingly angry with an FBI agent who has “accosted” his wife. But whatever the mood, a single thread runs through Williams' characterization: Lee Harvey Oswald, at all times, is completely sure he's the smartest man in the room.”

Richard Blake, The Column Review

“Ben Williams as the title character Lee Harvey Oswald delivers a spectacular performance every moment of the production. He bears a striking resemblance to Oswald, so much so it is a bit unnerving. Credit to the director for seeing past his attractive professional headshot seen in the playbill to the character that is hidden within. All looks aside, Mr. Williams is a remarkable performer who commands the stage. He easily takes you through a myriad of powerful emotions, some like a flip of a switch, and holds your attention throughout. The role has an enormous amount of lines to deliver and he never leaves the stage; a truly taxing role for any actor but not once did Mr. Williams faulter.”

Hamlet (Hamlet)

Barbara Adams, The Ithaca Journal

“Since Olivier's a half-century ago, the filmed versions of “Hamlet”, at least, seem to have grown progressively more active, the young man's assumed madness a cue for high-energy performances. In this respect, Ben Williams follows suit: His complexly rendered Hamlet owns every inch of the stage. Williams is once again as brilliantly eccentric and manic as he was as Mozart in “Amadeus” or Billy Bibbit in “One Flew Over the Cuckoo's Nest”. He's manly, heroic, loony, Machiavellian, even Chaplinesque (there's a great deal of physical comedy here). He manhandles the treacherous Rosencrantz and Guildenstern like an outraged samurai, and spins Ophelia around the stage as if they were electronic particles. Hardly the delaying intellectual, Williams' young prince is pure energy. When we see him curled into himself “bound in a nutshell”, we know that a moment later he'll explode. This show may be three hours long, but it has no longueurs; no matter how familiar the story, every scene will have you expectant. Williams' is a breathtaking performance in a breathtaking production.”

Romeo and Juliet (Mercutio)

Jeanné McCartin, Seacoast Online

"... even in this top-notch cast, a few actors distinguish themselves: Notably, Ryan Salvato, Ben Williams and Dylan Kammerer as the three friends Romeo, Mercutio, and Benvolio respectfully. The show is never more alive than when these talented actors exchange banter, roughhouse, or get deadly serious. There is an authenticity to each, and to their shared relationships. As always, Mercutio's fiery personality pushes the character center stage — luckily Williams is up to the task. It's an outstanding performance."

Songs of Love (Paul, Various)

Mariah, MacCarthy, The Happiest Medium

“Williams’ performance is one of the most upsetting, honest, jaw-droppingly raw moments of theater I’ve ever seen... At the end of the evening, my date turned to me and said, “This restored my faith in theater,” and it’s easy to see why."

Katelyn Collins, NoRedLipstick.com

“I also can’t end this without mentioning the last piece, “The Scariest Thing”, with Abby Royle and Ben Williams. This may be the most warped first date I’ve ever witnessed or heard of.  Completely jarring. I could feel the audience freeze in their seats."

Antenora (David Reilly*)

Weston Clay, Theatre Is Easy

“The acting is demanding of the two performers, Ben Williams and Max Woertendyke, who pull it off quite well."

Sarah Valeri, KeepYourEyesPeeled

"The performance conveys a truly rich and universal experience on such an intimate and visceral level that I remember instinctively glancing at my friend beside me to see if he was alright. Even though he was in no danger at all."

*Award for Outstanding Lead Actor, Planet Connections Theatre Festivity

Up, Up, Down, Down (Ian Cobb)

Patrick Hickey, Jr., ReviewFix

“Combining stellar performances from Allyson Morgan, Ben Williams and Amy Tribbey... “Up, Up Down, Down,” is easily the best independent production in New York City right now. ... As a matter of fact, they’ll be times during this performance that in spite of your differences with [Allyson Morgan as Joy], you can see your own life through her eyes. The same thing goes for Williams, who starts the performance off as a hilarious, but narrow-minded obsessive gamer, before ultimately growing into the man Joy’s character needs to escape her perils and find the happiness they both deserve.”

Heather Lee Rogers, NYTheatre.com

“Somehow the smaller, supporting characters seem more nuanced, truthful, and well-rounded, although they are played as big caricatures... Are these characters stereotypes? Yes. But that didn’t diminish the audience’s fun seeing the actors run with their eccentricities whole-hog."

Phaedra Pinkson, Theatre Is Easy

“The talented cast adds to the night's success.”

Honky-Tonk Highway (Nat Dawson, Various)

J. A. Di Bello, The Catskill Chronicle

“Without hesitation, Lesley McKinnell as Jenine-Kate, the band’s accomplished and traditional female vocalist, and Ben Williams as Nat, the unconventional, eccentric band member, carry this show to a level best described as inspired and wholly imaginative. One of the most entertaining scenes, of which there are several, is the band’s relationship with an evangelistic representative of a good ol’ down-home-type Tennessee church. Here, [Williams] assumes the role of an overly enthusiastic minister, and by means of a series of actions reminiscent of slap-stick hyperbole proclaims that all praise the Lord and prepare for the Day... Priceless theatre!”

Carol Montana, Times Herald-Record

“Additionally, these four actors become other personalities who come into their lives, and that's where much of the evening's comedy comes from, especially in the transformations of Ben Williams. His antics as a church-lady type, over-the-top preacher, a not-so-swift bartender and a money-hungry agent had the audience nearly paralyzed in fits of hysterical laughter.”

The Only Child (Hadley)

Martin Denton, NYTheatre.com

“[Director] Carlson and [playwright] Hinds ask a great deal of their actors... all do fine work.”

Ring of Fire (Steve, Various)

John Campbell, Western Herald

“The musical and vocal talent is astounding. Each vocalist brings a different dynamic to the show... Williams’ great comedy moment came with “Delia’s Gone.” [He] has a great dance routine that goes perfectly with the song.”

Pump Boys and Dinettes (Jim)

Marc Gonzalez, Road to 1,000

“Ben Williams (Jim) leads this cast well in all aspects of his role; but I found particular favor in his solo turn of “Mamaw”. Williams is the most animated on stage, but “Mamaw” is just him, his guitar and a spotlight. The subject matter kicks off the aforementioned nostalgic experience that one doesn't expect.”

Rocky Rhoades, The Valley View

“And the band? Well, these good old boys can play... [they] sing and pluck their way through this difficult score making it all look fun and effortless.

Rich Mayfield, Sierra Lodestar

“Ben Williams serves as a kind of narrator as Jim, advising the audience of the realities of life at the station. Watch his face during “Be Good or Be Gone” for some telling tales... Williams is good at keeping the crowd pulled into the show.”

A Wendy Story (Bonaparte, a.k.a "Boner")

Natasha Dawsen, OuterStage

“Ben Williams does a memorable job as Bonaparte.”

RTop

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