Chicago Tribune - Recommended
"...Overall, the micro work on the text (the activation of which is superb in places) is better than the macro (which feels not fully sustained). The stakes are high when Smith is driving Irons, or when Gilmore is coming to one of those mini-crises that pockmark our lives, but the best kind of "Godot" is that those stakes are up there for the entire time, especially when everyone is laughing."
Chicago Sun Times - Recommended
"...Beckett's play might not seem quite as revolutionary as it once did, although even now it no doubt leaves an impression on those experiencing it for the first time. Court Theatre's production, directed by Ron OJ Parson, is utterly faithful to Beckett (if perhaps a bit more physically rambunctious than usual), with every line of dialogue fully tapped for meaning. Its most obvious distinction is that it features an entirely African American cast (four of Chicago's most distinguished and experienced actors), so certain echoes of history are bound to attach themselves to this fact. But they never distort the script."
Time Out Chicago - Highly Recommended
"...Allen Gilmore’s self-consciously plummy Vladimir contrasts nicely with Alfred H. Wilson’s unpretentious, often childlike Estragon; the pair of stage vets establish a solid duo dynamic. Their lack of agency is frustratingly recognizable, particularly when viewed through a social-justice lens. “Don't let's do anything. It's safer,” Gogo says, to which Didi agrees, “Let's wait till we know exactly how we stand.” It’s all too clear just how long a wait that’s going to be."
Stage and Cinema - Recommended
"...Despite the rather excellent performances and Beckett’s intriguing dialogue, Court Theatre’s production of Waiting for Godot is missing something—maybe not much, but something vital. Occasionally, the pacing is off; the dialogue could have been hurried along and the slapstick tightened up. It’s quite easy to nod off briefly, as Estragon does, or think the play’s over after the first half, as some in the audience did. Yes, it’s a demanding play that asks questions it doesn’t even attempt to answer—Godot is whatever the spectator wants him, or it, to be—but I wasn’t convinced the men on stage had created for themselves the simple answers to the questions, “Who is Godot?” and “Why are we waiting for him?”"
ChicagoCritic - Highly Recommended
"...Waiting for Godot is one of the plays that provokes a reaction just by saying its title. Difficult, elusive, and easy to blunder, few works evoke such a strong mixture of love and hate from everyone familiar with them. Even the title character’s name is frequently bungled; Beckett wanted it pronounced “GOD-o,” not the more common “guh-DO.” In case you’re wondering what all the fuss is about, or whether anyone really likes this work or is just pretending they do to seem smart, Court Theatre’s new production will demonstrate to you the genius of absurdism. Director Ron OJ Parson and his cast have waited for fifteen years to make their vision of this play reality, and have planned out every moment meticulously to leave their particular mark."
Chicago Theatre Review - Somewhat Recommended
"...So why do I still offer a “Somewhat Recommended” rating to a playwright and play that I so obviously despise? Simply, I can’t bring myself to completely disregard a production with such obvious skill behind it. From “Raisin in the Sun,” to “Seven Guitars,” to “Tamer of Horses,” Director Ron OJ Parson continues to prove himself one of Chicago’s leading theatrical visionaries, and the sets (by Courtney O’Neill) and lighting (by Lee Keenan) that he oversees produce some of the more astounding images that I’ve seen on a stage; that, and the performances that Parson produces from Alfred H. Wilson and Allen Gilmore (who was phenomenal in “Seven Guitars” – which was also a perfect example of a superior play to “Godot”) are models in precise, comedic acting."
Chicagoland Theater Reviews - Highly Recommended
"...Theatergoers rejoice! You no longer need fear "Waiting for Godot." The Court Theatre has demystified Samuel Beckett's intimidating comedy/drama. Yes, the playwright's cosmic themes are still there, but embedded in comedy and recognizable emotion that make "Godot" accessible without trivializing, and minus the pious seriousness that often warps the play."
NewCity Chicago - Somewhat Recommended
"...The set is less-than-provocative but the costumes (everyone in hats) offer their own voice. Parson and cast have taken this heady three-hour philosophically dutiful drama out of the ivory tower, and created an enjoyable, entertaining piece."