My plays examine and even test the bonds between people.  Be they family, friends, lovers, neighbors, or strangers, I find the commonality between their differences.  While there’s a strong autobiographical element to my work, I treat each story as exactly that: a story, not a diary entry or a transcript.  The combination of reflection and imagination makes for complex characters and believable relationships that engage, and even bond, with readers and audiences.

Click on the play posters below for more information about the play, including production history, recommendations/reviews, and how to download script samples or order copies from the publisher.  Perusal copies of full scripts are available for the asking unless they are published.  For licensing and royalty information for published works, contact Next Stage Press or Senior Theatre Resources.  Licensing and royalty information for  all other works are available by contacting me directly via e-mail.

Copyright Notice: By downloading any of the plays or samples below, you hereby acknowledge that Philip Middleton Williams is the sole copyright owner of these plays. None of these plays may be produced or reproduced in whole or in part unless permission is granted by the playwright or his designated agents.

Artwork by Craig Houk

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Production History

A Tree Grows in Longmont was first produced on May 3, 2020 by Silver Tongued Stages of Miami, Florida as a part of the Six Feet Apart series of virtual play readings presented on YouTube.  It will be presented as a part of the Valdez Theatre Conference in Valdez, Alaska, June 10-17, 2023.

Synopsis

A year after Allen’s death, Philip visits the park in Longmont, Colorado, where a tree has been planted in his memory.  There he meets with Allen’s spirit, and as they remember their life together, Philip thinks about what kept them together and tries to understand what led to their separation.  Through it all, he finds that even death doesn’t bring an end to their bond.

Reviews/Recommendations

“What a wonderful scene: an opportunity, if only in your own mind, to act out a play you've written with a lost lover. This play is touching, moving, desperate, yet full of hope. I do believe the character Philip will go back to this tree in Longmont year after year to act out this scene. 'You are never gone, just in the next room' Lovely.” - Christopher Plumridge

"Writers are known to fictionalize, and dramatize, the pivotal experiences of their lives, and they do so for a variety of reasons. In "A Tree Grows In Longmont," Philip Middleton Williams uses the form of the memory play to search for answers to one of his life's unsolved mysteries. Williams takes great care to render the specificity of his experience in such a way that you feel drawn into this private, intimate conversation immediately. This is a lovely, transporting play, not one to miss!" - Sam Heyman

"It had never occurred to me that memories and nostalgia are plays-within-plays until reading A Tree Grows in Longmont. For Philip Middleton Williams the memories become the literal stuff of dramas and bring audience, actors, and readers close to the playwright in unique ways. The play is meditative, melancholic, hopeful, somber, joyous, and ultimately heartfelt. Written with love and layered with heavy-yet-playful dialogue that bends the conventions of what we expect from a play, take this work and read. Watch how the parts flow, and see in real time a tree filled with love comes to life before you." – Franky Gonzalez

"Love stories rarely end the way that we want them to, rarely end the way that they should. Williams literally opens his heart for us in loving memory of Allen, and gifts us with this opportunity to witness and treasure their love story. It's deep and intimate and gorgeous and lovely and unflinching. All the answers to the secrets of the universe are here. They're right here. May these words find their way into the hands and eyes and lips of people who will embrace and honor them with their whole hearts.  Thank you, Philip. And thank you, Allen." – Matthew Weaver

"Love can endure even after a relationship fails and even, maybe especially, after one partner dies. The tree in question is a memorial to the deceased partner; the play is a sometimes brutally honest examination of the love and the relationship as told through the memories of both men. The characters are so recognizable, the situation so relatable, that you can't help but be moved. Read it, and keep a hanky handy." – Donald E. Baker

"Williams, admired for his realism, ventures into a slightly more conceptual realm with this heartfelt, autobiographical one-act. Tracing a long-term love relationship, with all of its attendant pleasures and pains, the play taps its two characters’ memories to assemble a truth. Of course, memory can never be relied upon for the truth, but as Tim O’Brien has written, sometimes “story truth” is truer than “happening truth.” Williams plays with these ideas, often injecting wit where rancor could have been just as legitimate a choice. The result is a thought-provoking piece of meta-theater that draws the audience in." – Robert Weibezahl

"An absolutely stunning short piece by Williams, and a beautiful ode to a complex and enduring relationship between two men. Once again, Williams, in short order, delivers a fully realized play with multi-dimensional characters that will have you - from moment to moment - laughing and crying and then intently contemplating your own relationships and journey through life. This beautiful two-hander is about remembering and grieving and celebrating and growing and moving on. Highly recommend." – Craig Houk

"Philip Middleton Williams nicely balances a difficult path in this beautiful memory play. He details in his relationship with Allen Pfannenstiel, including several moments that had to have hurt very much, and he does so objectively so that he and Allen are seen as 3-dimensional people with flaws and strengths rather than types.  The structure of this play is beautiful, the scope both broad yet focused, and the details highlighting the character of two men in love and ultimately as best friends are rich and plentiful.  We may never fully know a person, but Williams creates a strong portrait here." – Steven G. Martin

"Having had the pleasure of directing Williams' "Last Exit," its incorporation in "A Tree Grows in Longmont" is all the more intriguing. The longer play deftly uses theatrical devices to extend the narrative of a relationship. The dialogue exchanges are realistic, and they bask in the awkward moments and the beautiful moments we too often try to hide, such as our happy dance. Williams' dry humor blends with too realistic statements such as "Hope is my greatest weakness." The epilogue to the play within the play is the perfect tribute we would all hope to give." – Matt Cogswell

"I was constantly wiping tears away from the moment I read "WAIT" at the end of the play within a play, to the very end of this whole piece. It's a memory play, but it also is a love letter. To love. Love isn't always pretty and perfect. Love is costly, because it costs you your heart. Philip Middleton Williams has definitely given his heart to not only the characters in this play, but to the audience that witnesses it as well. And that is the bravest act of love of all. The love you give away. A beautiful play." – Jacquelyn Floyd-Priskorn

"This is a gentle, beautiful chronicle of a life lived with love, laughter, and heartbreak, and feels like an intensely personal purgation even while being witty, joyful, and (somehow) light. Williams infuses his characters with such life that you quickly learn to know them and love them, and ache for the what-ifs that stand between Allen and Philip. Lovely work." – Toby Malone

"I read this play and was truly moved by it. I had to read it a second time only because the play is so powerful. Philip Middleton Williams has written about things lost, things found - life with deep feelings. You will absolutely be captivated with the strong character relationships." – Jack Levine

"What a beautiful eulogy.
Time capsule.
Memoir.
Love letter.

I generally dislike plays that tell us they are plays. The stakes and my interest plummet unless the piece immediately convinces me this device is necessary. Fortunately, Williams does that and never relents. The memories are urgent, important steps on a difficult journey! The air must be cleared now!

This play is goodbye. A once-and-for-all final goodbye to the love of his life. As final as it can be. By the end, Philip, the character and author, has bid farewell to Allen's life while lovingly embracing his memory. Heartbreaking." – Scott Sickles

Artwork by Craig Houk

A House by the Side of the Road - Seven Short Plays About a Family is published by Next Stage Press.

Download Script Sample

Awards/Recognitions

A Moment of Clarity was chosen as a finalist in The City Theatre National Award for Short Playwriting in 2017 and a 2022 semi-finalist at the Stage It! 10-Minute Play Competition, Bonita Springs, Florida.

Production History

A Moment of Clarity was first produced by Still Got It Players South at Magic Curtain Productions in Orlando, Florida, as a part of the Short Attention Span Play Festival on December 7, 2016.

Synopsis

These seven ten-minute plays follow a father and his two sons through life -- from childhood through the end of one life and beyond -- and can be produced individually or as one full production in chronological order.  The collection includes A Moment of Clarity which was a finalist in the City Theatre National Award for Short Playwriting in 2017.
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A House by the Side of the Road: Clyde and his sons Steve and Dan sit on the back porch on a summer evening listening to the Detroit Tigers play baseball on the radio and learn that you don't have to play the game to be in it.  It is included in Extra Innings: 10 Short Plays About Baseball published by Next Stage Press.

Blind No. 7: Clyde and his sons Dan and Steve spend a morning in Blind No. 7 at Erie Marsh duck-hunting, telling dad-jokes, and being together.

And the Wisdom to Know the Difference: Clyde stops by to see Dan on visiting day at the treatment center.

A Moment of Clarity: Clyde and Dan share memories and truths.

Favorite Son: Dan and Steve are waiting to visit their father who is in hospice care. As they sort through the arrangements, they sort through their relationship, bracing themselves for what's coming next.

I’ll Be Here: Clyde and Dan spend some time together in the woods where they used to go bird-watching.
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Good Grief: Dan stops by the forest to visit Clyde and meets his new lifelong companion. He's an attractive young man named Grief, and he and Dan are going to get to know each other very well.

Reviews/Recommendations

"This is a beautifully structured collection. Each play is complete unto itself if performed separately. But together they paint a beautiful picture of fifty years in the lives and evolving relationships of a father and his two sons. The characters are completely believable as down-to-earth, complicated, flawed human beings who love each other enough to put in the work to understand each other as best they are able. Vintage Williams, humanely wrought." - Don Baker

"A cycle of plays that each work wonderfully as individual units, but which are all the more powerful together. The exploration of the evolving relationship between Dan and his father Clyde is moving in its subtlety and simplicity. Williams foregoes histrionic drama for small, seismic shifts that examine how familial patterns and relationships shape one's life and leave an indelible impression even after those family members pass on." – Nick Malakhow 

"A cycle of plays and a cycle of life, A House by the Side of the Road depicts a complicated relationship between Dan and his father Clyde, from Dan's childhood through Clyde's passing decades later. Eschewing typically volatile straight-father/gay-son conflicts, Williams presents a gentle tale of people moving toward understanding as life and time bear down upon them.  Each piece stands on its own, but together they would make a powerful evening, which great roles for male actors of several ages. Doubling younger Clyde as older Dan has great potential to add power to an already impactful tale." – Scott Sickles 
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"This unit of theater examines the engaging and poignant journey of three men who are aware of both their differences and similarities. Dan's "differentness" is made so clear in the first play, and we get the pleasure of seeing a significant part of his life unfold before us, including an entire romantic relationship told through retrospect. The repetition of inside family references is cleverly intertwined over the decades of this journey. Philip Middleton Williams' use of setting and memory, among other techniques, is reminiscent of another Williams." – Matt Cogswell

"Having read and recommended all seven of the plays in this compilation, I stand by my original thoughts except to add: reading them all together and in order, these plays gain an extra layer of poignancy, an extra layer of meaning, and an extra layer of beauty. I was not prepared for the cumulative power and effect, a power and effect I imagine would be triply affecting when staged all in one evening. Terrific work." - Doug DeVita

Artwork by Craig Houk

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Awards/Recognitions

All Together Now was awarded first place in The Playgroup LLC playwriting contest of 2016.

Production History

All Together Now was first presented as part of the PLAYte reading series produced by New Theatre of Miami at Mina’s Mediterraneo in Miami, Florida, on December 16, 2015.  It was first presented in a full production by The Playgroup LLC at the Willow Theatre in Boca Raton, Florida, on March 2, 2018.

Synopses and Reviews/Recommendations

All Together Altogether - Four Plays About a Family
"What a wonderful collection! Williams writes beautifully and one can relate and fall in love with every character from the start: they synergize well, making you feel like home as you get to know them and see how the family bonds strengthen over time. Highly recommended." - Omar A. Stumpfs

All Together Now is available from Next Stage Press.  Download script sample.
Paul and Adam are a gay couple living together happily in Miami.  One morning the doorbell rings and in walks Fox, age 15, just off the plane from Santa Fe.  He tells them that he is Paul's son and that he wants to live with them. To share in this staggering news are Paul's parents Jim and Dorothy, and after an all-day frantic trip from Santa Fe, Fox's mother, Julie. This life-changing moment touches them all: Paul and Adam, who are discussing marriage; Julie and Fox, who are coming to terms with this boy growing into adulthood, and Jim and Dorothy, who never expected to be grandparents.  It is a play about a family, about parental rights and responsibilities, and about what happens when "what if?" becomes a reality.

"This wise and wonderful play is a story about family. How we create it, sustain it, allow it to grow and change (or not). Using his trademark masterful dialogue, Williams reveals just enough of the story of one teenager's surprise entry into the well-honed life of his father - and the complications that entails - to leave you wanting more. And there is more! Enjoy immersing yourself in the world of All Together Now, one of four plays about family." - Jan Probst

"I will never cease to be amazed at Williams’s ability to effortlessly lay beautifully finished dialogue onto the page. Every moment in All Together Now is easy and genuine, and each character is fully developed and relatable. Lots of subtle and effective comedy built into the action and the drama. This is one of those plays where you will feel compelled to choose your favorite character, but you’ll be hard pressed to do just that (Dorothy!). An instant modern classic. Looking forward to reading the other pieces in this series. Highly recommend." – Craig Houk

"The master at dialogue Philip Middleton Williams lays the groundwork for his four-part mini-series of plays. In All Together Now, he seamlessly weaves through the mire and muck of the arrival of mature, respectful 15-year-old son that Paul, his father, didn't know existed. In addition to the complex weaving of the dialogue to tell a masterful story, at all times "All Together Now" has a minimum of 3 relationship story-lines going on, that grows to as many as five. There will be tears, revelations, and complicated moments to get through before Philip makes the audience feel whole again. BRILLIANT!" - Joe Swenson

"Didn’t Tolstoy say that happy families are all alike? I think Philip Middleton Williams challenges that notion in All Together Now. He places flawed but totally lovable characters in the midst of a unique family that faces challenges, as all families do, but a family that holds a promise of real happiness, happiness that is all too rare. This is a heartwarming play that will have the audience identifying with and rooting for each and every onstage character, even when their motives are seemingly at cross-purposes. Bravo!" – Kim E. Ruyle

"Philip Middleton Williams is a name that belongs in the same breath as August Wilson, Tracy Letts, Tennessee Williams, Neil Simon, Lillian Hellman, Tony Kushner and Susan Lori-Parks (and that's just the short version of the long list). Williams has a gift for creating relatable characters to root for and fall in love while thoughtfully exploring what family means. Loved every page and hope to see it produced again soon!" – Chelsea Frandsen

"The piece begins with a situation that could be as easily played for laughs as for drama, yet Williams skillfully manages to have it both ways, sometimes in the same line of dialogue. In the course of the story, we see both the fragility and the resiliency of the extended family. The inciting incident is a seemingly offhand visit with ripples that force everyone to confront issues long buried and ultimately find the strength to create deeper bonds. Williams's ability to portray complex family dynamics with such elegance and simplicity is absolutely masterful." – Maximillian Gill

"A neat twist on the modern family, Williams’ "All Together Now" is a warm comedy – with a few prickly edges – that's really a coming-of-age story in which the usual suspect, i.e.: the teenager, is not the one who comes of age. Wise, funny, and totally winning." – Doug DeVita


All Together Again
Ten years after "All Together Now," Paul and Adam welcome the family back. It's a big occasion: Paul's fiftieth birthday and Fox's engagement party. But there are other things going on that threaten the celebrations, and it's going to be a long weekend in more ways than one.

"Having finished the first installment in this series this morning, I immediately dived into the ten-year reunion, of sorts. Wow! All Together Again does more than tug at the heartstrings – it grabs them and yanks. Hard. The depiction of alcoholism is all too real and painfully portrayed. Again, I found myself rooting for the characters and welcomed the addition of Nancy to the family. I will definitely read the subsequent chapters… after giving the old heartstrings a chance to rebound. Highly recommended!" – Kim E. Ruyle

"Yay! One of my favorite quirky families is back and better than ever! Phillip Middleton Williams keeps all his characters as fresh as they were before--just as open and honest and vulnerable and delightfully dysfunctional. Fox is still one of my favorite characters and Nancy is a welcome addition. I'm looking forward to reading part three!" – Chelsea Frandsen

"I honestly don't know how he does it or how he makes it seem so easy, but Williams has done it again: Rendering realistic characters in relatable situations with exceptional wit and insight. These characters are old friends by now thanks to the previous work, and revisiting them and seeing where they've come is a delight. There is a scene in this play between two characters recounting their initial attraction that I found very true and poignant. The play also treats addiction and the hard path to recovery with impressive sensitivity and an admirable avoidance of cliches. Another gem!" – Maximillian Gill

"Due to a strong familiarity with these characters (I got to originate Fox in the first installment), "All Together Again" is a Philip Middleton Williams play that I was looking forward to immensely, and it doesn't disappoint. This sequel to "All Together Now" is a refreshing and cathartic reunion with old friends. It's filled with humor, pathos, warmth, honesty, and a terrific sense of nostalgia. It's also a perfectly strong standalone piece, for those who haven't seen/read its predecessor. Everything you expect from a PMW piece! Thank you for this one, Philip!" – Eytan Deray

"One of the things I love most about Williams’ work is his distinctive voice; his explorations of the WASP world of the 21st century may bear the subtle influences of Lanford Wilson and A.R. Gurney, but the voice and the work are distinctly his own: warmer, less brittle, but just as potent.  Reading "All Together Again," a sequel to his earlier "All Together Now," was a welcome visit with dear friends. Dear, dysfunctional, frustrating, and beloved friends one sticks with because they are, and always will be, a part of your life. I'm looking forward to part three!" – Doug DeVita


All Together At Last
Fifteen years after "All Together Again," the family gathers to celebrate the life of one of them. For Fox's son P.J. and his boyfriend Will, it's a time of reckoning, and all of the family is facing decisions about the future.

"It's always wonderful to revisit these characters, all fleshed out so well that they're as familiar as real people. However, the play doesn't reside in easy familiarity but instead derives its power from forcing these characters to take on new and uneasy situations. Watching this family band together to face down an abuser is a delight, and the confrontation itself is both tense and peppered with Williams's characteristically deft brand of humor. I am also impressed by the subtle way the writer adds references to the previous plays in the series to allow this piece to stand on its own." – Maximillian Gill

"Long live the living room drama/comedy! What a lovely piece. Characters that are relatable, three dimensional and unique. The dialogue is beautifully crafted and succinct. The relationships between the characters are filled with spirit and each scene is brimming with compassion. Subtle, humorous, at times sad, powerful and timely. Looking forward to reading the companion pieces." – Craig Houk

"I've come to this series by reading the final play first, and I can't wait to go back to the beginning and learn more about this wonderful family. Everyone should get the support that P.J. and Will get from P.J.'s Dad, his G-Dad, G-Pop and Grammy all while they are dealing with a death in the family. Each family member is someone you'd like to have as a friend, and their love for each other is palpable. A bonus is the way they bring down Will's bullying father. It's a wonderful read and really needs a production." – Marjorie Bicknell

"Poignant, funny, and full of heart and love, Philip Middleton Williams' "All Together" series has been on my list of favorite plays for a while, and this concluding play is a fantastic end to the series. It was so nice to see Adam, Fox, Paul, and Dorothy (someone I'd like to portray when I'm old enough--she's that brilliant) again and P.J. and Will were welcome additions to this quirky awesome family. Warmed my heart and a play series that should be produced often." – Chelsea Frandsen

"One feels all the feels in this sweet, touching conclusion to Williams' "All Together..." series of plays. Continuing with his strong focus on a non-traditional family and their ups and downs over a 25-year period, Williams ends his saga with grace, charm, and a heartfelt plea for love and acceptance. Wonderful characters – and a great role for an elderly actress – make this as eminently producible as the other plays in this series; how wonderful it would be to see them in rep over the course of a few nights. All together, as they should be." – Doug DeVita


Welcome to the Family
Five years after "All Together At Last," P.J. and Will are planning their wedding when Will finds out about his family history, including his birth name and ancestry. He braces himself to meet his past and his future in the form of his biological father and half-brother.

"Welcome to a wonderful play that offers new beginnings and a marriage of hope and love. You will want to belong to this family, I know I do, so filled with love, surprise, complexity and wit." – Lucy Wang

"As the great God Sondheim opined about marriage:
"...we'll both of us be losing our identities
I telephoned my analyst about it,
and he said to see him Monday
But by Monday I'll be floating in the Hudson
with the other garbage..."
Expertly fusing a wedding comedy and the merging of families, then throwing in the monkey-wrench of a surprising, ill-timed discovery of one of the grooms' true identity, Williams has added another welcome chapter to his ever-expanding ALL TOGETHER... series of family dramadies. And what a wonderful family to be welcomed into – warts and all." – Doug DeVita

"'Welcome to the Family' is a worthy addition to the All Together Universe. While it is a part of a larger narrative, this story remains self-contained and wholly satisfying for an audience member who is unfamiliar with the preceding plays! Strong characters and themes of identity and heritage are at the forefront of this bittersweet comedy. "Welcome to the Family" is a delight to read and, I'm doubly sure, a delight to watch. I so hope this makes it to the stages when the stages make it back to us." – Charlotte Stowe

Artwork by Craig Houk

Can't Live Without You is available from Next Stage Press.
Download Script Sample
Three monologues are published in The Best Men's Monologues for 2019 by The Applause Acting Series.

Awards/Recognitions

Can't Live Without You was a finalist in The Playgroup LLC playwriting contest of 2017.

Production History

Can't Live Without You was first staged at the Manhattan Repertory Theatre in New York City on January 23, 2008. It was first produced fully staged by The Playgroup, LLC at the Willow Theatre in Boca Raton, Florida, on March 30, 2019.

Synopsis

Donny is a successful writer of romance novels living in the Florida Keys with his girlfriend, Anna, a successful realtor.  Both have what they think is their dream life.  To make things even better, Donny’s agent Barbara arrives to offer him more money by turning his bodice-rippers into made-for-TV movies.  But then, Bobby Cramer appears.  He is the main character in the novel that Donny abandoned to write romance novels.  Bobby asks Donny: “Why have you left me in the bottom of your desk drawer?  I’d like to know what happened to me.”  This leads to a series of confrontations between the author and his fictional character who is, in many ways, the guy Donny wishes he could be.  Meanwhile, Anna begins to look at her life and wonders if just selling real estate is all there is for her.  She’d like to start a family.  Donny must choose between Anna and their comfortable life or Bobby and the unknown.

Click here to see the promotional video for The Playgroup LLC production at the Willow Theatre of Boca Raton, Florida in 2019.

Reviews/Recommendations

"I really enjoyed 'Can't Live Without You.' I can totally see why it's gotten produced. It had tons of humor and humanity to it (my two favorite qualities)." – Joe DiPietro, Tony-winning author of "Memphis" and "I Love You, You’re Perfect, Now Change."
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"It is wonderfully creative. And with its small captivating cast of characters, it is a piece that is easy to produce – a 'must' for today's playwrights." – Dan Goggin, creator of "Nunsense."

"You are familiar with the conceit: A writer is confronted by one of his own characters. But playwright Philip Middleton Williams takes this conceit and runs with it in directions you aren't expecting, exploring relationships and life choices and so much more. Wise and witty, give this one a read." – Rand Higbee

"A play with a situation familiar to artists everywhere. A story with layers and emotions as complex as any classical work. Philip Middleton Williams takes the scenario of "trouble in paradise" to new heights in this equal parts dramatic and comedic mystery that keeps you reading from end to end of the script. The setting may be idyllic Florida, and the characters may be hilarious (especially Bobby who matches wits with Donny in some of the most witty dialogue exchanges you'll find on NPX) but make no mistake the stakes are high and the questions demand reflection and quiet thought." – Franky Gonzalez

"Williams' writing is perfection. Every character, plotline, moment, line, word... carefully and thoughtfully examined and laid bare. Nothing extraneous; all of it brimming with meaning. In Can't Live Without You, Donny, a prolific yet repressed author, is given the opportunity of a lifetime: a movie deal and a re-negotiated contract that will assuredly lock in his legacy as an eminent writer of trashy romance stories. Enter Bobby Cramer, Donny's alter ego, the protagonist from an abandoned novel of actual worth, whose relentless cajoling triggers a long overdue reawakening in Donny. A simultaneously hilarious and heartbreaking tale of starting over. Divine." – Craig Houk

"This portrait of a writer at a crisis point mostly of his own making is hilarious and gripping. Williams perfectly captures the breezy, sun-soaked atmosphere of a setting that fails to soothe a cast of characters who are all discontented in their own specific ways. The use of a character in the protagonist's head is a bold stroke that really works here; it adds dimension to the protagonist's journey even as it brings in another comic touch. This writer's work never fails to impress in every way." – Maximillian Gill

 "High concept, low-comedy, sophisticated wit, and hilarious farce are mixed expertly in Philip Middleton Williams' smart romantic comedy "Can't Live Without You." Serious life choices are questioned, but not given short shrift as the play bubbles along like a cocktail that reveals deeper layers of flavor with each sip, and in the end packs quite a satisfying punch." – Doug DeVita

Artwork by Craig Houk

The Sugar Ridge Rag is available from Next Stage Press.
Download Script Sample

Awards/Recognitions

The Sugar Ridge Rag was chosen as a semi-finalist in Southwest Theatre Productions 2021.
Nominated for Best Play, Best Ensemble, and Best Director in the BroadwayWorld 2022 Tampa Regional Awards.

Production History

The Sugar Ridge Rag was first produced by the LAB Theater Project of Tampa, Florida, on April 28, 2022.

Synopsis

Dave and Pete Granger, age 17, are twin brothers in rural Ohio in 1970. Dave enlists in the Army as a combat medic and is sent to Vietnam.  Pete, a piano prodigy and gay, goes to Canada to pursue his education in music and avoids the draft.  Their parents - Hal, a veteran of the Korean War, and Deb, a nurse - are left to deal with the consequences of their sons’ actions and their future as a family. Over the next five years, their lives are changed forever by the war and the choices each of them has made.

Reviews/Recommendations

"I have been wanting to see The Sugar Ridge Rag by Philip Middleton Williams and finally got to read this beautiful and truthful play. Having lived through this period, I rarely read or see a play that gets it - That understands life in the 60's: the complex in the simplicity, and the simplicity in the complex.  Williams has always written beautiful and sensitive relationship plays but this, written with the background of ragtime and 1960's America, sears your heart. Yes, I did cry. And I laughed at the goodheartedness of these characters. Should be seen nationwide." - D. Lee Miller

"I really enjoyed it.  It totally kept my interest in terms of wanting to know what happens next all the way to the end. And I agree it was beautifully staged in that space.  Well done!" - Dan Goggin, creator of Nunsense.

"I had the good fortune to watch a livestream of the live production of The Sugar Ridge Rag produced by Lab Theatre Project in Tampa, FL. Playwright Philip Middleton Williams has crafted a nuanced, moving, searingly honest portrayal of a family torn apart due to the Vietnam War and the two very different choices made by twin brothers. Full of gorgeous dialogue, authentic family drama, all set to a backdrop of syncopated ragtime music. I hope this beautiful piece of theatre is produced again and again." - Arianna Rose

“As enjoyable as plays are to read, they are meant to be performed; interpretations by a director and their cast are bound to differ from the preconceived notions that come from reading a work, and seeing Williams' THE SUGAR RIDGE RAG in performance at the Lab Theater Project recently revealed so many more levels to this touching story than are apparent on the page. A powerful piece of writing, the production pointed the way to what the script could be when performed – a heartbreaking, engrossing, and thought-provoking piece of theater.” - Doug DeVita

"[T]he fine folks at LAB Theater Project set out to tell the story of the Granger Family and in turn successfully delivered a story about a strong foundation of moral values, and that the love of a family will withstand anything it's up against." - Drew Eberhard, Broadway World -- May 8, 2022.

"For decades, South Florida playwright Philip Middleton Williams had the germ of an idea in the back of his mind – a period drama about twin brothers, with opposite opinions on the Vietnam War, and the effect each one’s life choice has on the family.

The dramatic train started rolling in April 2020, on the 50th anniversary of the tragedy at Kent State University, when four students engaged in a protest were shot and killed by the Ohio National Guard.

Williams, who grew up in northwest Ohio, was 17 at the time, and remembered his dread, hoping his draft notice would never arrive.
The memories provided the spark for The Sugar Ridge Rag, a powerful, engaging drama being produced – for the first time anywhere – by Tampa’s LAB Theater Project.

It tells the story of brothers Dave and Pete Granger, who live with their parents – it’s not Ozzie and Harriet, but it’s a reasonably typical American household – and who must each make a tough decision." - Bill DeYoung, St. Pete Catalyst -- The Sugar Ridge Rag Launches at LAB Theater -- May 2, 2022.

"Williams once again demonstrates his gift for Naturalism. The characters in this play perform a nuanced understanding of each other, resulting in a drama that is deceptively subtle and incredibly rich. I feel like I should mention that I’m a twin, and I feel like I should say whether Philip “got twins right.” I can’t answer that question: each set of twins share their own language and are co-archivists in a mostly shared autobiography (particularly in youth). I can say Williams got these particular twins absolutely right. I love this play and hope to see it produced." - John Patrick Bray

"The bonds of family may be strong, but Philip Middleton Williams puts them through the ringer in "The Sugar Ridge Rag," a powerful play about the toll that war takes on families, even when no one is killed. The Grangers are a loving family who get tested by the Vietnam War and the choices each twin makes in response to it. Each war leaves scars on the current and succeeding generations, and "The Sugar Ridge Rag" explores those scars brilliantly. This should be staged everywhere." – Adam Richter
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"A half century ago, men of my generation who had low draft numbers faced choices that boiled down to "Vietnam or Canada." The twins in this play each choose differently and their whole family has to come to grips with the ramifications of those choices. Williams captures the atmosphere of the times and of small-town Midwest life perfectly and gives each twin his due in this wonderfully theatrical work. Highly recommended." – Donald E. Baker

"Twins in small-town Ohio. Sugar Ridge Rag is a graceful but robust family saga about brothers living in the syncopated decade of the 1970s. Structured around the music of ragtime, this is a gift for director, actors, scene and sound designer with non-linearity episodes, all the more effective for being understated. Covered with a light touch but deep resonance are huge personal, national and international issues: war and defence, masculinity, the two countries of North America, the military industrial complex, a split family coming to terms with a new era but, above all, loving ties that bind." – Alice Josephs

"The beauty of this play lies in the form and structure of the piece that makes it theatrical, like the intricate, surprising rhythms of ragtime music that serves as a metaphor for the twin brothers’ differences despite their intense bond. We are so accustomed to Vietnam War stories told to us cinematically that when we see one onstage, or even read one, we are caught off guard by the subtleties in characterization and minimalism that a theatre piece can provide, especially one as powerful as Williams’ play is. This family drama shows us the turbulence of the times exceedingly well." – Andrew Martineau

"A refreshing take on family, military service, and identity that doesn't rely on trauma or toxicity to make its point that existing as another of any sort (queer, conscientious objector, or otherwise) is an uphill battle. Williams shows that even with a full family's support, there is a greater societal adjustment that clashes with internal beliefs in traditions, despite the love you may have for someone. It's such a thrill to watch this family hit ideological walls in their belief systems and grapple with them in intimate and surprising ways. So glad this is getting the production it deserves!" – Alexander Perez

"Ohhhhh my! You think you know the story...you don't. You think you can anticipate the characters...you won't. You think you can put it down half way through...but don't even think about it. The Sugar Ridge Rag by Philip Middleton Williams is a moving, heartfelt snap shot in to a by-gone era. It was a time of war, a time of preconceived notions a time to remember and Philip takes you there and lands you softly. You think you can predict how the story ends...but you won't. It's a story you DON'T want to end..." – Tom David Barna 
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"Touching, engaging - this play reaches deep, and drags us into the world of these twins, so alike and so different - syncopated, like the Ragtime music than runs through the play as a theme. This is a beautifully written play - with the added bonus of several monologues that would serve well for audition pieces." – Arthur M. Jolly

"What is unique is this piece is that it is not a Vietnam era tragedy in which the father is a bellicose, authoritarian bigot or the mother a homophobic shrew. They are accepting, if not immediately, then easily. Their love of their children is more important than societal pressure or their own generational impulses. No, the conflict is between the brothers and their separation. This play is a picture of how this war, which tore apart a nation, failed to tear apart one family, which is an uplifting tale to hear, and I highly recommend it." – David Hansen

"A tightly designed, beautifully executed play. The characters, the dialogue and the story are sublime. Philip Middleton Williams is a master at realism; channeling O'Neill, Miller, and Williams among others, but he makes it his own; bringing a freshness to the genre and, in many ways, transforming it. At the center of this gorgeous piece is a close-knit, loving and progressive family - likely very unique for that time period. While these people are flawed and hurting, their focus is not on the resentment that keeps creeping up, but rather on healing and coming back together. I am absolutely devastated." – Craig Houk

"A lovely, poignant piece that manages to intricately explore the unique relationship of twin brothers as well as larger themes of war and anti-war moral and ethical beliefs, small-town life, and identity. It examines all of these things with equal and impressive nuance and clarity. I also appreciated that Williams eschews fireworks and melodrama and trauma connected to sexuality and LGBTQ identity and simply (and effortlessly) integrates it into the fabric of this family's existence." – Nick Malakhow

"Simultaneously sweeping and intimate, Williams' play dives deep into the bonds of siblings, parents, and children. He examines these often complicated and messy relationships and has created a story that shines a piercing light on the individual Granger family while also making it feel universal and about all families." – Stephen Kaplan

"A moving, elegant portrait of an American family during the Vietnam era that cuts right to the heart of timeless human struggles. How war irrevocably changes us, what we’re willing to sacrifice for our purpose in the world, what family and home is and means, Williams’ tackles these colossal beasts with the delicate and deft touch of a painter, rendering a beautiful, meditative script that is profound as it is heartfelt. Simple, real, and fluid, it is a piece that hearkens back to the past (of the country and theatre), but grounds itself in a now that is inescapable." – Daniel Prillaman

Artwork by Craig Houk

Dark Twist is available from Next Stage Press.
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Production History

Dark Twist was first presented in a staged reading by Actors Ensemble Theatre at the Nomad Theatre in Boulder, Colorado, on March 2, 1986.

Synopsis

Set at an all-boys boarding school in New England, Richard and Jeff, former classmates and now teachers, meet in one of their old classrooms to reminisce. Enter Jim, the man who hired them both. Tensions intensify as the three begin a fierce dance culminating in a relentless series of revelations, each more startling than the last.

Reviews/Recommendations

"This effectively atmospheric piece convincingly evokes the world of the traditional New England prep school: a fascinating subculture most of us have never experienced. Complex characters, literate dialogue, and concealed motivations keep the audience engaged and guessing. The view of the past is bleak, but the ending offers some welcome hope for the future." - Tom Rowan

"Dark Twist gave me access to a world I know little about, and kept me engaged from start to finish. The layers of underbelly of the boarding school experience are slowly and insightfully revealed. Beautifully defined characters who can turn on a dime played with my allegiance and left me with the question: Do we ever truly rid ourselves of the demons of our past? This brilliant drama needs to be staged." - Jan Probst

"DARK TWIST explores how the trauma of one’s past stays with a person with such unrelenting clarity and focus, and it brilliantly dramatizes the sharp pull that causes some adults to return to the scene of that trauma years later to confront the demons head on. Richard and Jeff deal with their own evolving identities and complicated relationship that was forged in boarding school. The play is almost an exorcism of sorts, with surprising discoveries about ritualistic cruelties and misunderstandings. Wonderfully structured with richly compelling dialogue and action." - Andrew Martineau

"This was an exceptional show. I truly enjoyed these smart characters dealing with their pasts in healthy and unhealthy ways. I found myself switching sides with each as they told their stories and excited to see what each next "dark twist" would be. Their baggage and drama is real and relatable and the lengths they go to deal with them hits home. I left hoping Jeff and Richard had closure, as well as the opportunity for a new chapter." – Mark-Eugene Garcia

"A darkly intriguing play that pulls you in with vivid characters and dialogue, and keeps you reading as more information and history is revealed. Williams loves giving his characters rich backgrounds and that’s what brings them to such stunning life. Visual, physical, and sometimes difficult, this is an excellent example of what he does best." – DC Cathro

"I loved the way Williams explored boarding school cultural here through many different lenses. He managed to examine both the positive and toxic elements of such communities in an even-handed manner. As someone who taught in a boarding school for a long time, I appreciated the nuanced look at the varied ways identity forms and is shaped in those environments, and the immediate and long term impacts of the traditional structures and systems that such places cultivate and perpetuate. Each character was multi-dimensional and interesting, and the potent story is told in a compact and elegant structure." – Nick Malakhow

"Many of Williams’s candid plays involve memory and reconciliation. DARK TWIST explores these themes through the eyes of two former prep school boys, now men, who outwardly reject the past while clinging to it emotionally. Rich in symbolism and subtext, the story unfolds through scenes involving calculated role playing that underscore how we are all playing one calculated role or another in our day to day lives. A penetrating and thought-provoking play." – Robert Weibezahl

"I wanted to read this one before it was published, and I'm so glad I got my act together and did. A play about how what happens to us when we're young shapes our lives - both for good and for bad - Dark Twist will take you back to how it felt to be a teenager, trying to figure out who you are, what the world is, and how best to survive within it. It's a wonderful drama full of twists, surprises, and haunting memories. Philip Middleton Williams knocked it out of the park again." – Lisa Dellagiarino Feriend

"At an all-boys boarding school, the weak, the different, the perceived gay became targets. Jeff survived by finding a protector, staying stoned, and pretending not to be who he was. Richard broke under the bullying and lives with PTSD-like nightmares. Now both have returned to the school to teach. But why? To exorcise their demons or to embrace them? They seek to answer that question in this gripping and engaging drama of memory and survival. Audiences need to see this play." – Donald E. Baker

"Dark Twist is a wholly compelling piece of drama. Williams presents us with two very complicated men (Jeff & Richard) who have accepted teaching positions at a New England prep school that they attended years ago, a prep school steeped not only in tradition, but also in illicit scandals & harrowing secrets. Enter a third also very complicated man (Jim) who hired them both. A fast and fierce dance between the three, a nonstop series of revelations, each more startling than the last. And oh, what Williams has the characters do with a desk is pure brilliance. Stage this!" – Craig Houk

"Dark Twist is absolutely riveting. What struck me the most are the dynamic shifts--within seconds--that each character makes. When people are wounded they shift quickly between anger, defensiveness, vulnerability, and terror. This play beautifully captures that shifting. Also, the theme of unfinished childhood business that haunts adults until they do something about it....and what, exactly, can they do? The past is over, right? Dark Twist powerfully shows how the past is not, in fact, over, but people still go forward. Brilliant!" – Faulkner Fox

"From the opening stage directions, Philip Middleton Williams transports you to a prep school world that feels incredibly real and textured. The memories that the characters both share and suppress are woven into the setting itself, with dilapidated desks and classrooms becoming metaphors for all the trauma within. Navigating through the lives of these dynamic characters is fascinating and the revelations about bullying and abuse are explored with such great perspective through different lenses of sexuality and status." – John Mabey

"Williams blasts open old wounds sustained decades ago by prep school students who have returned to teach at the school they both attended. The result is a quick-footed, compelling drama that does not pull punches, but does hold secrets, including repressed memories that, when they surface, threaten the tenuous balance each character has worked for years to maintain. Highly recommended." – John F. Ward 
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"Goddamn, high school was a horrible experience for Richard and Jeff, and the memories are embedded deep into their psyches. Williams not only touches on their lingering wounds, he digs at them, tearing open long hardened-over scabs with force. An exorcism of a sort, Williams displays a darker world view than usual in this work; whatever Richard and Jeff may have learned from confronting their memories, he leaves no doubt the cycle will continue, and it is vicious." – Doug DeVita

"The road to prep school is paved with good intentions. The road from it is often traveled as quickly as possible. DARK TWIST navigates the bonding and brutalities, rituals and regrets, of that experience as only the work of an insider can." - Stephen Anable

"This play packs a punch! Dark Twist refers to the pipe tobacco smoked by the dean of faculty at St. Edmund’s School, but more to the point, Philip Middleton Williams has given us a tale about the dark twisted experience of Jeff and Richard, two alumni returning to the schools after 20 years to teach. The tradition, the hazing, the agony of their high school experience – I felt it all as Jeff and Richard reconnected, shared their memories, and, in surprising fashion, confront the dean. Bravo!" - Kim E. Ruyle

Artwork by Craig Houk

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Awards/Recognitions

Finalist - American Association of Community Theatres NewPlayFest 2024.

Synopsis

Sam and Frank Weaver are at their summer home in Harbor Grove, an exclusive resort community on the shores of Grand Traverse Bay in Michigan, for a memorial service for Ruth, Frank's wife and Sam's mother. They are joined by Greg and Janey Anderson and their son Gary, who was a childhood friend of Sam, and Sam’s former lover Pete.  They reminisce about their summers spent up at the lake, and as the day progresses into night and the masks come off under the influence of good Scotch, some well-kept secrets and memories that would rather be forgotten are revealed.  Pete, a recovering alcoholic, would like to make amends with Sam after their five-year separation, and Sam is tempted to at least give it a try.  It’s revealed that Sam harbored a crush on Gary when they were teenagers, only to find out that Gary secretly felt the same way about Sam.  Greg and Janey are bound and determined to maintain the “traditions” of Harbor Grove.  Frank shares some rather startling truths about his own memories, as does Kenny Barnhill, a local kid and Harbor Grove handyman who knows something about each one of them.  This leads to the next morning when choices must be made, and each has to come to terms with what happens when the summer is over and gone.

Reviews/Recommendations

"There's the kind of writing that when read, makes you feel as though you're experiencing a memory of your own past. Philip Middleton Williams creates that experience for a reader (and indeed, for any actor who takes these delightful characters on). We go to that summer home. We feel connected to the characters and their situations. We feel the humor and the weight of melancholy. We experience summer by the lake in Michigan and remember a time lost, or a time reclaimed in the reverie of souls coming together again before the season changes and eras end. A wonderful play." – Franky Gonzalez

"Another outstanding work from Philip Middleton Williams. Covering a 24-hour period following a memorial service for the family matriarch, the play is perfectly paced to allow us to truly know these characters, their secrets, and their fears. As family, friends, former lovers, and childhood crushes gather in this lakeside resort community, the past and present come together in true dramatic fashion. I highly recommend this for reading and producing." - Morey Norkin

"Keeping up appearances is important to the wealthy summer people in a Michigan resort town, but that means keeping secrets. It may be cooler by the lake, but things heat up when a provocateur prompts six men to reveal their secrets past and present. Williams is a master of depicting inter-personal relationships, and the relationships here were and are very personal indeed. Resort to a copy of this play and prepare to be drawn into the world of a fascinating group of characters." - Donald E. Baker

"This play takes place at a family summer getaway. And that is exactly what the characters in this play use the setting as, a place to get away...from everything. But after a memorial service, and perhaps a couple of drinks for some of them, their pasts and troubles catch up to them. Slowly, like a lazy summer day by the lake, the issues creep in and demand attention. It's hard to avoid the rocks in the road when you're wearing flip flops. This was a beautiful and personal play about love and the search for happiness." - Jacquelyn Floyd-Priskorn

"Nothing like a memorial service to bring people together for some good ol' fashioned reminiscing. In the capable hands of Philip Middleton Williams, this tale of reconnection and recollection is a delightfully engaging read -- and not just for gay readers' projecting onto Sam Weaver and his many potential suitors. There is nuance to every character in this play, and a richness to each relationship, romantic, familial and otherwise, that is refreshing. The world of Cooler Near The Lake is definitely worth a visit!" - Sam Heyman

"Returning to the place where you grew up—particularly for a funeral—can awaken all kinds of guilts, regrets, and other long-buried emotions. Williams explores this insightfully and with compassion. The play is full of authentic detail and atmosphere, the northern Michigan lakeside setting skillfully evoked. Themes of class prejudice and internalized homophobia are conveyed through nuanced character relationships." - Tom Rowan

"Masks come off, summer strips away baggage, and the coolness of the lake brings what’s truly there. Cooler Near the Lake exposes secrets, brings on heightened dreams, and opens up some realities that are exposed in times of grief and remembrance. Funny, honest, and loving, the play centers on the humanity of the characters, and what happens when their choices are not true to themselves. Williams writes a tale that is filled with love even when the love is misguided. And allows that forgiveness and compassion are integral parts of love." – Claudia Haas

"Cooler Near the Lake is written with an old-style type of craft, of the William Inge - Robert Anderson school, whereby the surface observation is so precisely accurate-- the casual joking, the deflection, the avoidance, the good manners, -- so well deployed as to demand that actors and audience collaborate to see through the characters' facades to their secret deeds and hidden wounds. The revelations come, followed by the struggle for understanding and a reconciliation that is natural, well-grounded in character and highly satisfying. There is much here for actors to work with and much for audiences to enjoy." – Kerr Lockhart

"I am nostalgic for NYC. Why do I mention this after reading Williams' beguiling and beautifully crafted play, which has been set in Grand Traverse Bay, Michigan? Because works as compelling, as layered, and as entertaining as Cooler Near the Lake are exactly what New York theatre was designed for... at least in my humble opinion. Think Other Desert Cities, except without the overwrought plot (sacrilege!). The intersecting story lines move along seamlessly and effortlessly, so much so that even the smallest of shifts in mood or action land with tremendous impact. Beautifully developed characters across the board. Stage this!" – Craig Houk

"The specificity of time, place, and characterizations in “Cooler Near the Lake” give it a wonderfully poignant charm and humanity. A pleasure to read, I imagine its pleasures will multiply tenfold when staged, which I hope it will be because I’d love to see it performed." – Doug DeVita

"A lovely and engaging chamber piece poking at the strict divisions of class and gender orientation that permeate our culture. The characters are so specific and wonderfully rendered that we are immediately invested in their stories. As the party goes on and the scotch flows, secrets come out as they inevitably do, and I was along for the ride the whole time. I also can't fail to mention how funny the play is and how some of the best moments of wit come out at unexpected moments." – Maximillian Gill
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"Been meaning to read this for ages. The aspect I enjoy most about Philip's work is that it feels so absolutely personal. And the beauty of that is upon entering the world, the audience instantly becomes part of the family. Really, really enjoyed this one." – Adam Seidel

"Every time I read Philip Middleton Williams’ play, I become a fly on the ceiling — I can taste the drinks, smell the woods and French toast. “Cooler Near the Lake” is beautiful in its honesty of self-discovery, acceptance, and how unknowingly we wear our hearts on our sleeves." – Julie Zaffarano

Artwork by Craig Houk

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Awards/Recognitions

Tucumcari Tonite! was awarded Best Short Comedy at the Legacy Play Reading Festival, Legacy Theatre, Stony Creek, Connecticut, September 2022.

Production History

Tucumcari Tonite! was first presented as a reading at the Valdez Theatre Conference in Valdez, Alaska, on June 14, 2022.

Synopsis

Alex, a bail bondsman from Las Vegas, is taking Tony, a mob accountant, across country to his new life and identity under witness protection. They spend the night on the side of the road in the middle of the New Mexico desert among the dangers of the desert life, and learn some interesting truths about themselves and each other.

Reviews/Recommendations

"Tucumcari Tonite! recently won Best Play prize in a play competition, and deservedly so! This unusual and touching buddy comedy is filled with cultural references that delight, and surprising insights that make for the very best kind of theatre. Playwright Philip Middleton Williams once again shows his great craft and skill in storytelling through these two very human characters dealing with a stressful situation."  - Arianna Rose

"I love a good buddy comedy and Philip Middleton Williams presents us with a classic one here. Tony and Alex don't like the circumstances that brought them to where they are and like each other even less. But slowly, through wonderful dialogue and careful revealing along the way, they come to not only understand each other, but respect and connect as well. This could be the beginning of a beautiful friendship." - John Busser

“I thoroughly enjoyed hearing this play at the Valdez Theatre Conference! Williams brings his wit and humor to a stressful situation of two men, seemingly at odds and with nothing to offer each other, and we get the wonderful experience of watching their friendship and connection blossom in real-time over the run time of this one act play. Beautiful work!” - Emily McClain

"You know the old saying, "you don't really know a man until you've spent the night handcuffed to him in the desert." Even after you wake up, even after a long car ride together, it still takes a conversation. Among Tony and Alex's skills, conversation is at the top of the list. Williams gives us two guys who are more or less on the same side but are still cautious. This is true of their circumstances and their conversation. A delight to read out loud and a gift for actors, the play presents a lovely nascent friendship." – Scott Sickles

"What a delightful, funny, and unexpectedly sweet buddy comedy. Williams’ always engaging way with characters and quips is on full display here, as his talent for layering poignant longing underneath the surface bravado. A field day for two actors, this is a wonderful one act play I'd love to see staged." – Doug DeVita

"Williams triumphs again with this very funny and expressive short buddy road trip play. Two men, antithetical in their personalities and backgrounds, are flung together under very unique circumstances. Stuck in the desert and waiting for Triple A, the pair begin to let their guards down and to share their life stories. And though it appears that their destinies are set, their brief time together will forever change them for the better. Amazing dialogue as always. Hits you right in the heart when you least expect it. Beautifully done." – Craig Houk

"You wouldn't think a play about a couple of 'tough guys' would be described as charming, but the relationship these two characters form in a very short time is both funny and warm. Even though Williams does a wonderful job of landscaping this play - you can almost smell the sage! - this one-act could be easily performed with only a couple cubes. It's a true testament to the writer's ability to imbue his snappy dialogue with such rich details, an elaborate set simply isn't necessary. 'Tucumcari Tonight' is a quick, breezy read with a lot of heart." – Kelly McBurnette-Andronicos

"On first reading this play I was struck by the gentle way in which the story unfolded. How the wonderful dialogue and setting just drew you into what turns out to be unexpected and invigorating and heart-warming. Characters are drawn in full three dimensions, something which Philip Middleton Williams achieves with an ease which belies the difficulty in achieving the feat. Creative, warm and moving. A superb piece of work." – Paul Smith

"A heartfelt dialogue in an unlikely place being had by two unlikely men about an unlikely subject. Other playwrights wouldn't be able to pull those disparate parts together, but Philip Middleton Williams isn't other playwrights. He creates a hilarious circumstance and shifts it subtly toward the more serious and more deeper exploration of fatherhood, regret, addiction, and shame. It's a lovely two-hander that will stay with you after reading or seeing this show." – Franky Gonzalez

"Philip Middleton Williams takes the buddy comedy format and completely turns it on its head in this compelling, fast-paced and hilarious play. I laughed out loud throughout most of it, especially when he subverts our expectations of who we think Tony and Alex should be. "Tucumcari Tonite!" is a brilliant two-hander that would be great to see on a stage. I loved this play, and I hope Tony finds happiness in his new life. Well done!" - Adam Richter

Artwork by Craig Houk

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Synopsis

Jared needs to collect a debt from Luke, but there's more to the story than just an unpaid bill.

Reviews/Recommendations

"There are several reasons I like "Forgive Us Our Debts." The first is that the play includes a level of generosity and kindness, of thinking about others ahead of ourselves. I also like that the play is about two gay men, separated by a few decades, who may be developing a friendship, and one that isn't based on sex.  Philip Middleton Williams also provides a rich backstory for Luke and Jared, and that the difficult part of their history is a strong reason why the bond/friendship forms and why generosity and kindness rule." – Steven G. Martin

"There is perhaps no one worse to bring up the memory of a lost loved one than a debt collector. Philip Middleton Williams makes the encounter between Luke and Jared funny, awkward and ultimately touching. I loved the dynamic between these two characters who meet under the least ordinary of circumstances but just might be exactly what each of them need." – Adam Richter

"I have been consistently impressed by this writer's ability to create sharp, indelible characters. Now I find myself equally impressed with the writer's ability to create surprise and unexpected but welcome moments of humanity. I could not have anticipated where this piece would go, nor would I have imagined it could accomplish such a journey in a short running time, but I was fully convinced and delighted by the closure. Funny and heartfelt, a true gem of a short play." – Maximillian Gill

"Forgive Us Our Debts is a beautiful story about loss and hope. Luke is spending a quiet afternoon watering his plants and talking to his philodendron like an old friend. Jared interrupts his day trying to collect a debt. The show is a masterful mix of comedy and drama driven by Philip Middleton Williams's gift with dialogue. At its heart, Forgive Us Our Debts is about hope and closure. The story is sad, funny, heartfelt, dignified, and completely relatable." – Robert LeBlanc

"Philip Middleton Williams’ play is an interesting story, which seems to be at first an awkward attempt to collect an unpaid bill. I thoroughly enjoyed the ride, as we learned more about Jared and Luke. “Forgive Us Our Debts” will entertain audiences with two interesting characters, witty dialogue, and a delightful ending." – Jack Levine

"Even grief has comic possibilities. Luke disguises his heartache and resentment with sharp rejoinders (and a bit of gardening), but he is thrown for a loop when guileless young Jared turns up with an unexpected connection to the past. Williams mines this clever set-up for all it is worth, subtly revealing the source of Luke’s sadness and Jared’s own dignified reasons for needing to sell his soul. The ending is beautifully orchestrated: surprising, endearing, and with a glimmer of hope." – Robert Weibezahl

"Can you put a price on a memory? With Forgive Us Our Debts, Williams does just that, and he does it with reams of heart and humor. This short play is altogether imaginative and meaningful. Luke's routine afternoon of gardening is interrupted by a young man, Jared, who has come to collect a debt. The money owed is insignificant, but the stories behind it are monumental. Beautifully devised characters and stellar dialogue as always." – Craig Houk
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"Past relationships come back to haunt us, often in unexpected ways; the bittersweet feelings of a middle-aged man whose ex has been deceased for three years, and faced with a surprise visit from a young debt collector, are mined with a sure hand. The emotions are genuine, the characters are deceptively complex, and the resolution is touching, but satisfying. Charming, sad, and lovely." – Doug DeVita

Artwork by Craig Houk

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Production History

Ask Me Anything was first produced as a part of the Miami Summer 1-Acts Festival at New Theatre in Miami, Florida on July 5, 2013.

Chewie, Get Us Out of Here was first produced at the Anchorage Community Theatre in Anchorage, Alaska, in a webcast in 2022.

Here's Your Sandwich was first produced  at the World and Eye Art Center in Fort Lauderdale, Florida, on March 16, 2013.

Last Exit was first produced at the Miami 1-Acts Festival at New Theatre in Miami, Florida, on July 4, 2014.

Stop Laughing Without Me was first produced at the Valdez Theatre Conference Fringe on June 11, 2022.

Viral Love was first produced by Fantasy Theatre Company of Miami, Florida, in a webcast in 2021.

Which Way to the Beach was first produced by the Miami 1-Acts Festival as a part of the Miami New Stages Festival on September 12, 2015, at the Main Street Theatre in Miami Lakes, Florida.  It is also included in the Love is Love is Love Protest Plays 2017.

Synopses and Reviews/Recommendations

Short plays ranging from romance to farce.

The Anthology
"I was looking for something to read in-between grading, and absolutely fell in love with this collection!  From humor of Chewie to the understanding of 'Til Dough, there is something here for everyone to enjoy." – Brandon Urrutia
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"A delightful collection of character-driven (in a couple of cases, literally!) plays which run the gamut in scenarios but always maintain a great sense of humanity and purpose. Each of these plays are taut and well structured, and many of these pieces are so rich they beg for expansion and exploration, but the wonderful thing here is that Philip Middleton Williams trusts his form and hears his characters so clearly that he knows what they need, and never labors the point. Read the plays individually, but also enjoy the chance to bounce through this collection too." – Toby Malone


Ask Me Anything:  A job interview gets intimate, harrowing, and twisted.

"I adored this show. I read it a few times. So much fun. Steve is so wonderfully shrewd and Martin's innocence is such a wonderful contrast. I would love to see this on stage." – Mark-Eugene Garcia

"Philip Middleton Williams takes a baffling, exasperating and seemingly implausible situation and, with some stellar comedic dialogue, closes it out with an ending so surprising and so authentic, one might wonder if they've ever unwittingly fallen victim to this kind of brutal deception. Extremely tight and insanely funny." – Craig Houk

"Haven't we all been there? Turning yourself inside out to try to respond to the increasingly tense and probing questions in an interview? Middleton does a phenomenal job capturing the desperation of the would-be employee and the cringe-worthy and hilarious boss. This gem was a hit at the 2018 Midwest Dramatists Center Conference." – Rachael Carnes

"What people will do to get a job these days. And a data entry position in accounts receivable at that. I mean, I could see the interviewer's outrageous and totally illegal tactics if the guy was going for a job in payables, but receivables? After you've enjoyed the "interview," there's the twist at the end that makes the whole thing funnier, and I daresay more believable." – Larry Rinkel

"This play is absolutely hysterical. We've all been on job interviews and we've all been asked tough questions, but Williams takes it five steps further. Incredibly clever. Both Martin & Steve are roles actors would have a ton of fun with. Would love to see this on stage. Well done!" – Steven Hayet


Another Park, Another Sunday:  Allen and Jill, two spirits, meet up every Sunday at the park to talk about life, the universe, the meaning of life, and peaches.

"Through beautifully constructed naturalistic dialogue, Williams delivers an afterlife story-line of two old friends - someone newly "relocated" and the other a veteran of unearthly life. Together, they ponder the life they lived and tease us with glimpses of life beyond death. Poignant, powerful and thought-provoking! i particularly loved Jill's peach monologue." - Vivian Lermond
 
"What a lovely episode for two crossed-over souls. Not quite "Our Town" but it shouldn't be; the afterlife has to be more interesting than waiting for God(ot). Williams, always straight from the heart, carries on the journeys of two spirits, one experienced, one new at the game, who are still capable of hopes, dreams, and compassion. A very touching scene." - George Sapio
 
"This is a lovely nod to Our Town's premise, but with a distinctly contemporary flavor. Jill and Allen are authentic and compelling characters and their friendship is the emotional center of this play. I enjoyed hearing it aloud tremendously and found myself thinking about it the next day-- always the hallmark of a good story, in my opinion. It is a beautiful and moving piece! Thank you for writing it!" - Emily McClain


Any Second Now:  Four characters are in the waiting room at Characters Equity, waiting for their next assignment.

"I never quite expected to run across a comedic, somewhat hopeful No Exit, yet here I am, smiling about this Philip Middleton Williams play and thinking through all my college discussions about absurdism and existentialism and comedy. I'm always a sucker for writing that wonders, "Okay, but what if what we writers are doing actually impacts semi-sentient beings?" This show scratched that itch the entire run of its length. I feel I'll come back to it when the itch returns. Great work." - Jarred Corona

"Philip Middleton Williams’s short play, “Any Second Now”, is a look at the challenges of actors. The fun of the play is the absurdity of their expectations, beliefs, and desires of wanting a better role for themselves without truly understanding the process: playwrights create characters for the story they are telling and not to satisfy a particular actor. The ending is perfect. When the opportunity to be cast presents itself, well, let’s just use the expression “timing is everything”. It’s a fun play to read. I hope to watch it performed." - Jack Levine
 
"A writer poking fun at writers. Or is it a writer poking fun at characters? Or maybe a writer poking fun at the entire writing process? Regardless, Philip Middleton Williams gives us a lot to both think and laugh about here in a mere ten minutes."  - Rand Higbee


Chewie, Get Us Out of Here:  The crew of a starship is stranded on a planet where they find themselves being attacked from all sides and above by menacing cliches, supernova-sized plot holes, and hackneyed taglines.

"Geekery done right! This is what the intersection of my brain and my fandoms looks like during rush hour. And rush hour is every hour of the day! Kudos to Philip Middleton Williams for corralling all these separate entities into one show!" - Christopher Soucy

"This is just plain hysterical! As soon as you read the character list and the scene starts with a dead guy in a red shirt, you know Philip Middleton Williams will leave no cliche unturned! He even worked in the toilet paper joke! This is so much fun, and I couldn’t help but read it with all of the well-known voices in my head. I may have to come back to this from time to time just for the laughs!" - Morey Norkin

"What brilliant, fast paced, action packed - indeed pun & quote packed, hilarity! This play cleverly brings in so many Sci-Fi TV and Film quotes and characters, it would be a total hoot to stage! Oh no, Dramaturgs!!" - Christopher Plumridge

"I laughed out loud reading this hilariously over-the-top sendup of Star Wars, Star Trek, nearly every other sci-fi franchise you've ever thought of — and Chekhov. Philip Middleton Williams leaves no cliché unturned, and audiences will love it. Bravo!" - Adam Richter

"Have you ever tried to look up something to watch on Netflix or Amazon Prime? You know you're in the mood for a certain genre, but you're having trouble deciding which program you truly desire to watch right this minute? Yeah, same here. Thank goodness for Chewie, Get us Out of Here! which has it all! This is a wonderful example of Geek Theatre, loaded with SciFi and Fantasy references (and a nod to Lewis Carroll as well). As another reader said, "this did my nerdy heart good." Same, fellow nerd. Same. To quote Nine, "Fantastic!"" - John Patrick Bray

"Oh, to see Gene Roddenberry's face during a performance of this play! Not only does it kill the sacred cow, it kills about a dozen of them. Williams perfectly weaves a million sci -fi references into the ultimate Easter egg play. The comedy is expertly written and executed by these well known yet surprising characters. Red shirts unite!" - Dan Taube

"A postmodern collage, this spoof of our most beloved sci-fi and cult classics made me geek out! I smiled and laughed my way through this engaging short play. Would be a great addition to festivals, and would play well for college audiences especially. The perfect break from doom and gloom." - Elisabeth Giffin Speckman


The Christmas Commercial Conspiracy: Barney and Judy work in an ad agency and have to come up with commercials to sell stuff at Christmas without connecting them to the holiday itself. There's gotta be a way...

"With a perfect opening and closing, Philip Middleton Williams has written a short play that truly brings out the spirit of christmas; capitalism." - Niko McPherson

"What I wouldn't give to see Barney dancing to a metal rendition of "God Rest Ye Merry Gentlemen." Philip Middleton Williams has written a silly-goofy piece perfect for the holidays." - Hannah Lee DeFrates

"Philip Middleton Williams' satirical look at how Christmas ads are created is the perfect antidote to all that syrupy sweetness that usually accompanies the holiday season. Copywriters Barney and Judy get stuck into an impossible assignment, and the result is lots of laughs for the audience. There's music and dancing as well!" - Dominica Plummer

"Thank god for the "Judys" of the world, doing the mental gymnastics to keep absolutely everything as...worldly as possible. The satire Williams provides is pitch-perfect, making one laugh uproariously, cry in despair, before finally returning to laughter. Brilliant and sweet little short." - Daniel Prillaman

"THIS is why everything old is new again. Philip Middleton Williams takes a well-aimed potshot at the crass commercialism of, well, crass commercials. Pointing out how the ad world endlessly recycles campaigns to sell the newest item in the assembly line is so perfectly constructed, you can't help but laugh at it. And now we know how the sausage is advertised..." - John Busser

"Philip Middleton Williams' satire is a perfect play for Christmas- and holiday-themed festivals. It's a refreshing, sour look not at the holidays but rather human greed that provides a strong opposition to treacly sweet stories. I also love that Williams, like some of the advertising methods he tweaks in this comedy, is not subtle: This is a straightforward short story with a clear point of view." - Steven G. Martin

"Barney and Judy are incredibly fun characters. If they were in a workplace sitcom, I'd watch every week. They've got great coworker chemistry – compatriots not rivals, she's more experienced at the job and has lot to teach and he's eager to learn. He's gay so we're not waiting for a cliched smooch. It's a perfect setup!  Williams cleverly sets his Christmas play over Memorial Day Weekend, setting it apart from more typical holiday fare. The musical choices are equally unorthodox and perfect!  Read this play as a present to yourself. Produce it as a gift to others!" - Scott Sickles

"Yes, Christmas is a religious holiday. But of course it is also an annual revenue bonanza for the many businesses that rely on ad agencies to provide jolly or heartwarming but in no way offensive messages encouraging Americans to open their pocketbooks and swipe their credit cards. One suspects the cynical attitude lampooned by this very funny little play is more pervasive than people imagine." - Donald E. Baker

"Never forget the reason for the season is high sales volume. This quirky holiday treat is a pitch perfect look at the commercialization of the holidays. Philip Middleton Williams captures what it must be like to plot and plan the ad campaigns that inundated the air waves the moment there is a hint of cool in the air." - Christopher Jean Soucy


END OF PLAY.  A play reading at a theatre conference turns from the play and the playwright to drama and intrigue between the respondents, and as time goes by, we learn that the fundamental things may not apply.

"This short play made me smile. And nod. And groan. We've all gotten feedback like this - well, maybe not QUITE like this. The know-it-all respondents with personal grudges against each other kept me entertained as the poor playwright tried and failed and tried again to get a word in. Thoughts and prayers to this playwright as they struggle to make sense of the feedback received - but no such thoughts and prayers are necessary for Philip Middleton Williams, because his play is stellar." - Lisa Dellagiarino Feriend

"Hitting all the right notes here, Philip Middleton Williams has a play that needs no rewriting. It's smart and biting the right people in the right places. Nothing drives me crazier than "helpful" feedback where those feeding back tell you they don't want to rewrite your play and then proceed to do just that. It would not surprise me to learn this scenario Williams has penned isn't the God's Honest Truth either. Fun stuff." - John Busser

"Delightful! It's not until about half way through that you realize the sleight of hand Philip Middleton Williams has pulled off in this all-too-accurate skewering of play readings that playwrights wince to remember. The fact that none of the characters have names as such (I particularly liked Stage Directions), reminds us all too vividly that while play readings may come and go, a classic will survive despite the critics. END OF PLAY will please theatre and movie goers alike." - Dominica Plummer


Going for a Walk with Sam:  Allen, Sam, and Philip meet up at a park in the spirit of remembering good times and the last time they were together.

"Oh God. I read "A Tree Grows in Longmont" and sobbed hysterically. But this one hits even harder. Somehow the joy of Sam stabs the heart a little harder. Knowing Philip (and other pet lovers who have lost pets) was full of so much sadness and regret at the end, they couldn't even entertain the idea of seeing a manifestation of their sweet pup Sam. The funny thing about happy memories is they can make you cry harder than the sad ones sometimes. There won't be a dry eye in the house with this play." - Jacquelyn Floyd-Priskorn

"This play is such a personal and beautiful tribute to lost friends, human and canine. It is clever and unique too, as taken from the perspective of the spirits, not the living. I would love to stage this, it would be a wonderful challenge to have an actor play the part of Sam, as a gentle spirit and not a jokey doggy.  Thank you Philip for sharing such a personal story in such a lovely way." - Christopher Plumridge

"Williams’s emotionally honest plays often have many layers to peel away, and “Going for a Walk with Sam” is no exception. While he literally and whimsically portrays the spirit of a departed dog, Williams delves deeper, exploring the spiritual connection between humans and their beloved pets, as well as how that connection can become integral to human pairings as well. Staging this warm-hearted play would be a delightful challenge for director and actors alike and I hope someday to see it performed. ” - Robert Weibezahl

“ This cleverly crafted and warm hearted walking play is a play about two people and their beloved pup, Sam. Two of the trio are no longer alive, but in a play that is part memory, part dream, that doesn't prevent playwright Williams from finding ways to reunite them. As Sam reminisces and acts out the glorious walks he enjoyed with Philip and Allen, the past springs back to life and the three can forget their sadness at being apart, and remember the magic of being together. ” - Dominica Plummer

“ A memory play that comes to life - just as we 'relive' our finest moments - which may also be our simplest and most mundane. Love is recaptured in this beautiful meeting of loves that have moved on, or transitioned, as some say. The transition here is in Philip, himself, able to finally accept the loss of his beloved pet so that they might relive the joy and comfort of being together. I'm glad he can revisit his dog whenever he likes now. I look forward to getting to meet them all on stage. ” - D. Lee Miller


Going There:  Sam and Gary, best friends since grade school, graduate from high school, meet up again ten years later, and wonder what might have been. Can they go back to where they were? Does that ring a bell?

“So much sweet and heart achingly beautiful nostalgia and love in this very short play. Sam and Gary have are a great pair...in any of the sliding door-like timelines. I can't believe how much love, hope and honestly, familiarity is in this short play...and it doesn't feel over-packed. It's the perfect amount of baggage for this little journey we take with these two characters." - Jacquelyn Floyd-Priskorn

“Life is a series of tiny little decisions that have ripple effects through the rest of our lives. Philip Middleton Williams' short play "Going There" demonstrates this with such wit and skill. Sam and Gary have a complex relationship that's completely believable in both timelines. I am always amazed by the author's ability to tell so much in so few pages, and "Going There" is another gem.” - Adam Richter

“Yet another expertly crafted short by Philip Middleton Williams. Imagine a world in which we all could go back, undo what's been done, and pursue our real passions and be our authentic selves. The playwright gives Sam and Gary that very opportunity, and with that, life uncomplicates itself in measurable ways. There's a larger message here - perhaps political or societal or religious - but Williams doesn't bother with any of that. Maybe an idealistic view of our world, but damn it, I'm all in! We need these messages. And when it's wrapped in brilliant writing, all the better.” - Craig Houk


Goodbye, Bobby :  Donny finally finishes a novel, but just typing "The End" doesn't mean the end of the story, especially when the main character doesn't want to leave just yet.

"Why we write; what we write; who we write? This charming two-hander is a puzzle box dialogue between a writer and his character that explores the act of creation, what is real and what is imagined, and how it can be impossible to shed the impulse to write, no matter how hard one may try. Every writer will relate to this on-the-money scenario, which Williams brings to life with humor and head-scratching moments of familiarity." - Robert Weibezahl

"I loved Philip Middleton Williams's full length, "Can't Live Without You," so when I saw that this short is an epilogue to that, I was VERY excited - but "Goodbye, Bobby" absolutely stands on its own and doesn't require you to be familiar with its prequel in order to understand what's going on. And what's going on is SO interesting. Any writer knows the feeling of that character you just can't shake, that character who feels so incredibly real to you. How do you know that they exist in your mind and not the other way around? A terrific what-if!" - Lisa Dellagiarino Feriend

"I've often held conversations in my head with characters I've created, wondering where the ideas originated. And when it's done right, they feel as real as myself. In GOODBYE, BOBBY, Philip Middleton Williams offers us a peek into such an encounter, and it's layered with insights and meanings that both characters wrestle with and explore. This is a magical encounter that will stay with me as both a writer and a reader." - John Mabey

"Williams perfectly captures all the love, frustration, fascination – nay, obsession – writers have with the characters they create in this touching comedy. Mining his frequent theme of being haunted with his usual skill and depth, Williams' inner not-quite-monologue is a spot on conversation that nails everything there is to nail about life as a writer, but does it in a way that is universally recognizable to anyone even remotely human. A wonderful short play with two great roles, I'd love to see this staged, perhaps on a double bill with his equally wonderful full-length 'Can't Live Without You.'" - Doug DeVita


Good Vibrations:  Mike and Ron meet up at their 20th high school reunion and discuss their very different ideas of a "normal" marriage until karma drops in on the conversation.

"There's much that gets unpacked in this playlet by the increasingly prolific Philip Middleton Williams, not the least of which is the exploration of bigotry and and narrow-minded actions by those who are both in perspective and in self, stuck in the past. To see bigotry so casually displayed and passed off as "beliefs" show the insidious ways in which people justify a worldview that seeks to oppress and police how one lives their life, but it wouldn't be a Philip Middleton Williams play without humor and his trademark punchline that collapses the bigot's message. A great short piece." - Franky Gonzalez

"There's nothing quite like someone who has never understood oppression reminding you that you're a second-class citizen, that their life the standard-bearer and because yours is not, then it doesn't count. Williams examines this conflict with a light touch, great humor, and a superhuman amount of grace. Those who feed off making others feel inferior often do so to deflect from their own insecurities. Williams builds this comic conflict with great subtlety leading to a terrific payoff!" - Scott Sickles

"The writer's trademark wit is evident throughout this compact work and caps off a stunner of an ending. I admire how well-rounded and present the characters are in just a few short minutes of dialogue. What really makes it work for me is the careful study of micro-aggressions incisively detailed and revealed as the simple prejudices they are. An important statement rendered with wonderful verve." - Maximillian Gill


Here's Your Sandwich:  Writer's block brings on strange visions and ideas.

“A painfully hilarious (hilariously painful?) depiction of writer's block. There are many witty lines throughout, a charming helpmeet for our tortured writer, and a delightful twist ending.” - Paul Donnelly

“I love the way the timeline glitches slightly at the end of this! As a writer, I've been there. Although my stage directions would read, "Leaning back, hands behind head, eyes are closed and she IS asleep. THE END". But that's why PMW is a much better writer than I am! I love the characters in this piece and their relationship. It's very relatable and fun!” - Jacquelyn Floyd-Priskorn

“It's terrifying how accurate this depiction of writer's block is. This play has lovable characters, and a wonderful story that keeps you invested until the beautiful ending.” - Scott Cantrell


Last Exit:  Moving day brings closure to a relationship. Or does it?

"Sometimes moving away is not enough to add distance to the end of a relationship. In "Last Exit," Philip Middleton Williams gives us two characters whose breakup is in the past but their baggage is still very much in the present (and omnipresent, for that matter). I loved the way that in a few short pages, Williams gives us years — decades? — of the characters' lives, Each reminiscence, each quip leaves the audience and characters wondering, "Where will they go from here?" — right up to the final line. This is a brilliant relationship drama. Well done!" - Adam Richter

"There’s so much history between these characters in white space on the page, one could go snowblind in the emotion of it all. A break up play is one thing, a post-breakup goodbye play is a different hat trick. Feelings have been around longer: anger faded but still with a bitter aftertaste, love lingering like an old paint job. The characters use reminiscences to establish and infiltrate boundaries, parrying and enticing, saying things they’ve left unspoken too long. Yet, Williams gives them a profound immediacy and a hope that resonates like keys to a new life." - Scott Sickles

"Regardless of your gender identity or sexual orientation, it's hard not to relate with this sensitive and eloquent story of holding on and letting go as it pertains to long-term relationships. How do you reconcile having a history with someone mixed with the need to move on? The characters and situations jump off the page with their authenticity and humanism. The actors and director will relish in the opportunity to bring this play to life." - Aaron Leventman


Matthew Weaver, Marry Me:  Two playwrights meet for coffee. Hilarity ensues.

“Matthew Weaver, the ultimate NPX influencer... And now PMW has drunk his Kool-Aid! A sweet meta comedy full of NPX in-jokes and cameos, and a lovely valentine to the many wonderful relationships that have formed through this site.” - DC Cathro

“This play makes me smile every time I read it. It says something beautiful about friendship and admiration, and shouldn't that be what marriage is about anyway? Though as a woman I gotta say, I'm funny and fun to hang out with; I'm pretty sure I could put up with a lot; I see no reason why Williams wouldn't want to marry me!” - Tristan Canfield

“How could I not read this play with such a delightful title. The play holds up to it and then more. I've admired both writer's work on NPX and know they would make a delightful couple if they ever decided to tie the knot. I'd try to be one of the first in line for the wedding, but know with both of their fans, would end up standing in the back of the chapel. I'd try to make up for that by getting the best damn paper product for the first year wedding anniversary.” - Lee R. Lawing


Short Cut in the Cemetery:  What starts out as a romantic rendezvous takes a wild turn.

“It never ceases to amaze me, the skill of the writer who can pack so much into one minute. Here, we have expectation, anticipation, hilarity, shock and horror all bound together by Philip Middleton William's hallmark fluid dialogue. A breathless one minute of wit and smart writing. Fabulous.” - Paul Smith

“I really enjoyed this darkly humorous piece. Even with a small page count, it has more than its share of surprises!” - Evan Baughfman

“Sexy and funny and terrifying all in a few pages and leaves you wanting more. But then we wouldn't have the ending that we have. This was a little something different by Williams and I quite enjoyed that.” - Lee R. Lawing


Stop Laughing Without Me:  A playwright meets with a producer, but the meeting doesn't go as planned.

"As a playwright, are producers truly supposed to understand where the story is coming from and its intentions? Well for Claude, his intentions are final and will do nothing to stop getting his play produced the way he wants it done; the right way. WILLIAMS’ play “Stop Laughing Without Me” is a look at just that. What does it truly mean to have your play produced the way the playwright intended. I want to see this produced. Lovely. Masterful. Well done!" - Jaxon Mackling

“Do we achieve our intentions when writing a play? Does the reader get what we expected, or do they respond more truly than we realize to what we actually wrote? Maybe Claude Balz's (Balls?) play is funnier than he thinks he is, or maybe producer Sid just doesn't get the intended serious meaning. Who knows. Either way, Philip's delightful short reminds me of Oscar Wilde's classic line about Dickens's "Old Curiosity Shop": “One must have a heart of stone to read the death of little Nell without laughing.”” - Larry Rinkel

“Maybe the funniest, and certainly the most unexpected line I’ve read in some time! Took me in hook, line, and sinker. That would be the ending of Philip Middleton Williams’ insightful short play. Leading up to this, is a look at what I believe most (all?) playwrights worry about when they hand their work over for production: do they get it? Of course, in Claude’s case, a little self-awareness would have been helpful. I’m going to find myself bursting into laughter whenever that line pops into my head!” - Morey Norkin

“I don't know why they say comedy is hard. For the main character in Philip Middleton Williams' short play, it was literally effortless. The gap between how we want our work to be seen an and how it is seen varies in size, but here it's a gaping maw.  Therein lies the tragedy.  Or in this case, the comedy.  "Stop Laughing Without Me" is a comic gem with a brilliant kicker at the end. This is a great two-hander that would be perfect for an evening of short plays.” - Adam Richter


'Til Dough Do Us Part: Joel and his fiancé Paul stop by the coffee shop run by Joel's ex, Mike, and find themselves quarantined on several levels.

"Today, many moments in our lives are driven by the pandemic. It's created and shined a light on things that wouldn't have happened, that are happening, that happened and that didn't happen. Joel, Paul and Mike evaluate all these situations for them together and apart. Death sits on our doorstep: do you really want to hold off on life any longer? This is a well-written, triumphant, sad and humorous play. Well done." - D. Lee Miller

"'I didn't come in for coffee.' 'Yeah I didn't think so.' Two brilliant lines that perfectly define this very funny and tender three character short play. Joel and Paul are to be married, but their license expires at midnight & their wedding destination flight has been cancelled due to the pandemic. Never fear. Paul's ex, Mike, a full time barista/baked goods dealer and part-time reverend has agreed to marry them. He just needs to first give back the ring that Joel gave him. 'Best way to start a marriage is with a clean colon, right?' Brilliant!" - Craig Houk

"Williams is a master of the 'gotcha'. In this beautifully rendered short play, we feel all the things - including great empathy and understanding. He writes with such unflinching honesty and skill, reading his plays are a pleasure, and 'Til Dough Do Us Part is no exception. It's a pandemic play, but much more than that. The characters longings and dashed hopes will keep you thinking long after the coffee's brewed." - Arianna Rose


Under the August Moon:  Sam and Doug, friends in life, reunite as spirits somewhere in Eternity.

“"No Exit" meets "The Twilight Zone" fused with the humor of Jules Feiffer. We simply can't have too many of these wonderful asides that deal with the ongoing tragedy of death. It made me smile in spite of a slight tinge of felt pain. Thanks, Philip!” - Ken Love

“We all wonder what the afterlife will hold for us, just as we wish for those who've gone before us to "rest in peace." PMiddletonW tackles these thoughts with his usual aplomb, both begging and answering the question as to what it means to "rest in peace." Who hasn't felt some of our loved ones are not yet resting peacefully? In this poignant two-hander, Sam has found his peace, while Doug has not. A touching work that gives as plausible an answer to one of life's eternal questions as any.” - Doug DeVita

“There really is no pleasing some people.

Some souls are forever mired in the “should,” determined to live by expectations foisted upon them by others and/or foisted upon themselves. Combine that will an inability to let go of the past and… Williams has managed to fabricate a soul so lost, he won’t even find joy in Heaven. Or wherever he is.

There is bliss in Williams’s afterlife: freedom from the body and a license to be happy. Evidently, that too will fade. Fortunately, joyful souls don’t have to wait for the joyless to catch up!” - Scott Sickles


Viral Love: Two people prepare to take the next step in their relationship during a time of uncertainty and social distancing.

"The go-to Rom-Com trope ‘You hang up.’/’No you hang up.’ takes on a heartbreaking twist for the Age of Social Distancing in this perceptive one-minute exploration of the way we love now." - Robert Weibezahl

"Wry and timely, this one-minute play about dating during a pandemic hits all the right notes. Philip Middleton Williams has his pulse on societal mores in the new frontier and expertly dramatizes a very human ritual. Sure to be a hit on the one-minute play circuit!" - Arianna Rose

"This fun and funny piece is ideal for a one minute play festival and more. It's clever and timely and everyone will relate to it. Interesting casting as any two people any age, can play the two parts." - Marj O'Neill-Butler


Which Way to the Beach: George and Marjorie come all the way to South Beach to meet the man their son Steve is going to marry. Hilarity ensues.

"A great blending of drama and comic farce, Which Way to the Beach is a terrific play about family dynamics and mistaken identity. Philip Middleton Williams has assembled a nicely diverse cast of characters, some of whom are refreshingly against type (the cop who so loves his son, he treats potential suitors as suspects to be interrogated, to make sure they are good enough). As the confusion about who's really who builds, the play ramps up in hilarious fashion. But it also says something about acceptance and being realistic about it as well. Great stuff!" - John Busser

"Philip Middleton Williams messes with your expectations perfectly in this laugh-out-loud funny play about mistaken identity. George and Marjorie are endearing as the fish-out-of-water Midwestern couple in South Beach, and the surprising reveal at the play's climax is a fantastic twist. This would be a hoot to stage." - Adam Richter

"The characters drew me in immediately and I was pulled in by their honesty and vulnerability as they discussed true acceptance and the poster of acceptance. I was not expecting the twists but I am oh so happy with how the ending tied up. The setting also felt like a character in itself, which I really enjoyed. So fun!" - Molly Wagner

Artwork by Craig Houk

Download Descriptions

Production History

Quite the Connoisseur was first presented at the Valdez Theatre Conference Monologue Workshop in Valdez, Alaska, on June 18, 2022.

Synopses and Reviews/Recommendations

Allen’s Big Adventure: The inspiration for A Tree Grows in Longmont.  Memories come flooding back as a spouse says goodbye to his soulmate.

"It seems like an impossible task to articulate the hole in our lives that people leave behind when they die, but Philip Williams has done it, with poignancy and beautiful language. In a few short minutes the audience gets such a detailed view of Allen, of Philip and of their relationship that they, too, share in the sense of loss." - Adam Richter

"Isolated from Williams' longer “A Tree Grows in Longmont,” this monologue of memory takes on even more depth, more poignancy, and more heartbreaking beauty. Truly moving, truly stunning, and a gift for any actor who is lucky enough to perform it." – Doug DeVita

"As far as short lifelong love stories go, the standard bearer, IMHO, is the opening of UP. Where that was all images, this piece is all words... and the images keep coming. A beautiful epistle with an extraordinary list of "adventures big and small," it was impossible not to get jealous of the adventures the speaker and Allen had together. So, I got jealous. But in four double-spaced pages, we get the downs as well as the ups, the years apart and the years together. We get two glorious lives that, even in the end, were lucky beyond words." – Scott Sickles


Another Great Literary Career from Can't Live Without You: Donny is a best-selling romance novelist who writes under the name of Amanda Longington.  He is talking to a character in his first novel.


Do You Get It from The Sugar Ridge Rag:  The mother of a soldier in the Army in Vietnam in 1970 talks with her husband about what keeps her awake at night.  Scheduled for inclusion in The Best Women's Monologues 2023 published by Smith & Kraus.

"This dramatic monologue comes from Williams' "The Sugar Ridge Rag," an historic play.  Philip Middleton Williams clearly knows Deb Granger's voice, and clearly, she's suffering -- she feels she's all alone with her thoughts and fears for her son fighting in the Vietnam War, and she's trying desperately to connect with her husband. It's heartbreaking, her near-desperation.  Female actors will love "Do You Get It" because Williams so clearly steps from one level of intensity to another, and the audience will love the details of the lives dramatized. Sobering and affecting." – Steven G. Martin

"It's easy to lose the individual among so many casualties. In this monologue Philip Middleton Williams reminds us with heartbreaking honesty of the individuals and what loss, not only families, but entire communities face when they lose even one person to the horrors of war. War is Hell, and this monologue shows that Hell is not just a battlefield where soldiers fall. It's the empty spaces left behind by those who'll never come home." – Franky Gonzalez


Free!  Powerful Muscles Fast!: Mike tells us how he learned that big biceps don't make you a superhero.

"More plays and monologues like this, please, addressing male body image and social expectations. It's a topic not explored enough on page and stage." - Asher Wyndham

"FREE! POWERFUL MUSCLES FAST! is a nostalgic, coming-of-age monologue about the explorations and discoveries of one's sexual identity, beautifully written by Philip Middleton Williams. I've always wondered what those magical ads in the back of comic books would bring; and now I know! Check this one out." - David Lipschutz

"Lately, folks have been ragging on Adam West’s Batman - he didn’t have the illustrated six (eight?) pack. What he had, though, was an athletic swimmer’s body. West could have *actually* been Batman. But he did not have the (ridiculous) muscles.  Those Charles Atlas ads promised results in seven days. You could be Superman. But why couldn’t Superman just be…us?  Mike is approachable, real. The play is about body dysmorphia amplified by unattainable bodies on splash pages, as well as a man’s discovery that he is gay and average. And that’s really okay." - John Patrick Bray

"Yeah, this monologue speaks to me both as a lifelong comic book fan and the teenager in me, discovering his sexuality back then. I still read comics and long for the days of X-Ray Specs and trick soap. Nostalgia is powerful stuff, and Williams skillfully weaves it through this story about finding your own strength." - DC Cathro

“Ever a master at the uses of bull’s-eye nostalgia, Williams here paints an evocative memory monologue that will speak to many. While conjuring a very particular cultural time and place, Mike’s memory achieves wide resonance with its frank depiction of puberty and sexuality, and widens further still when he comes to realize the conflict between the ways society portrays heroes and the essential truth of what a hero really is. While Mike is designated as mid-thirties, actors in a range of ages could—and should—undertake this poignant and witty monologue.” - Robert Weibezahl

“This monologue addresses two great mysteries and even provides an answer to one of them: 1) what do they actually send you when you mail in the coupon to get your free powerful muscles fast AND 2) if there’s nothing too heavy for Superman to lift, how did his muscles get that big without sufficient resistance!!! THANK YOU, PHILIP!!!  More importantly, the monologue is a reckoning of memory and misconception disguised as nostalgia. It’s a powerful recollection of not-so-bygone masculine indoctrination (and flimflam) and a celebration of strength, however we may find it.” - Scott Sickles


Hey, Dad:  A son remembers his father who died from Covid-19.  The script has been published by Breath of Fire Latina Theatre Ensemble in The COVID Monologues: 54 Writers Respond to the Pandemic.  Click here to see a performance by Tom Shelton.

"Lovely. Just lovely.  Williams’s tribute to his late father is filled with just enough detail to tell us what we need to know about their relationship – that love and mirth are what matter, and that the overcoming of obstacles is far more important than the obstacles themselves.  He’s also given the piece a beautiful, autumnal setting creating images, on screen and in our heads, of oranges and browns with a hint of green. Harvest and hope.  Deeply resonate, filled with emotion and truth, this is a gem to perform onstage or online.  Lovely." – Scott Sickles

"Saying goodbye over the internet is not the way a child wants to say goodbye to one's father. Williams tells us all the things his father taught and shared with him in this lovely remembrance of being his son." – Marj O’Neill-Butler


Just A Local from Cooler Near the Lake:  Kenny, a local guy, shares an honest moment with the summer people up on Lake Michigan.

"A wonderful atmospheric monologue that says so much in so little time. True-to-life writing that conjures up a lively image of the teller of the tale! Enjoyed this "teaser" from 'Cooler Near the Lake.'" - Vivian Lermond

"Oh the telling of tales once the summer is over. Is there just an ounce of jealousy about the summer residents. If secrets get told... This is a short and to the point monologue about one man left when the rich go home." - Marj O'Neill-Butler

"This short piece would make a great audition monologue. There’s tension and conflict right out of the gate! You get a good sense of both the speaker and his relationship to his listener. Williams sticks the landing with a memorable parting shot that’s specific to its source play yet easy to appreciate without a larger context. Sharp, impactful work." - Scott Sickles


The Last Time You Thought About Me from Can't Live Without You:  Bobby, a character in a romance novel written by a man under a female name, wants to know why he has not been in any more of the writer’s novels.


Quite The Connoisseur from Tucumcari Tonite!  Alex explains why he only drinks a certain brand of water.  Scheduled for inclusion in The Best Men's Monologues 2023 published by Smith & Kraus.

"A good audition monologue leaves you wanting more, of both the actor and the story. This excerpt certainly evokes interest in Alex, the speaker. It provides a unique personal spin on recovery, lets us into the larger world of the character, and lands on a great tag line. There's no gender specification, so anyone can perform it. It should make a terrific impression." - Scott Sickles

"A power-packed one-minute monologue that delivers a believable story, offering a wonderful emotional range for an actor looking for a gem of an audition monologue!" - Vivian Lermond

"I will never look at La Croix the same way again. Only in the hands of Philip Middleton Williams can a somewhat anodyne sparkling beverage rise to such an elevated status as it does in this wonderful monologue. We get to know so much about Alex in half a page: Why he drinks water and how his beverage of choice makes his life better. An actor would have a great time unpacking this monologue." - Adam Richter


Remember Me?  My left ankle reminds me of a moment that left a scar.

"An unexpected voice for a character, from a body part. To bring this to life you'd probably need a collaborative effort of various designers. Beautiful writing again from this playwright." – Asher Wyndham

"From a kitten on the ceiling to learning how the world views someone in a wheelchair, Remember Me is a witty, tender monologue that will remind you of your own vulnerabilities. Our bodies have so much to tell us, if only we would listen. And who doesn’t enjoy a talking ankle?" – Jan Probst


Simple Black Marks from A Good Year:  An English teacher at a prestigious New England private school addresses the class at the end of the school year.

"SIMPLE BLACK MARKS is anything but simple. In just a minute or so, Williams (through his teacher character) expertly unpacks ageless passions about books, learning, and the art of teaching which, like good theatre, is meant to illuminate and agitate rather than inculcate. Bravo!" – Robert Weibezahl

"There's irony in Philip Middleton Williams' monologue here. The idea that simple words on paper are more powerful than all the bureaucracies of man is a good one, but it is being wielded by a teacher stepped on by that very same bureaucracy. The teacher is right though, as ideas are notoriously hard to squelch, and he/she feels it important for his/her students to remember that. If only one at a time. This is beautiful writing." – John Busser


That Goddam Tree:  Larry, a white heterosexual homophobe, reacts to A Tree Grows in Longmont.

"This is a stunning companion piece to Williams’ A TREE GROWS IN LONGMONT, in which he shines an incisive light on the idiocy and thinly veiled hatred we still need to combat. Sharp, uncompromising, intelligent, and devastating. Bravo, Philip. Bravo." – Doug DeVita

"This short monologue is Williams's imagining of a straight homophobe's hateful response to the same-sex relationship so beautifully described in his "A Tree Grows in Longmont." I would like to see it performed as a prologue to a performance of "Longmont," which would then give the lie to everything "Larry" says. Good honest work." – Donald E. Baker

"Full disclosure: I was there when Philip wrote this monologue and I got to hear him read it as well. I thought it was extraordinary at the time and was eager to read the piece again. It does what art should do, which is to invite the reader into a character, even a hateful one - if not to condone, at least to understand. And like all good art, it leaves the reader with questions: who is this person, why does he act or speak as he does, and what does that mean for me?" – Lawrence Aronovitch

"I hate that people like this exist, and I applaud Philip for turning a hateful comment into a piece of found art.
Edit: that was my first reaction.
Knowing now that this was written as an exercise, I’m speechless. I heard the speaker’s voice so clearly it had to be real. I appreciate how other folks responding talk about the humanity and heartache behind the words. What hit for me was how this speaker jumped in as if he had a place in the story and there was no one to stop him. Uncomfortable and well done." – John Patrick Bray


There's Something About a Ginger from Cabana Boy: Fond recollections about a boy named Sean with that something special.

"Yes. Full disclosure, here: As a ginger, I'm certainly biased towards the titular statement of Williams' beautiful monologue. But beyond that, there's also something about the speaker's musing that gets to the very heart of love and yearning. When that certain someone (or something about them) strikes you, almost inexplicably, and gently burrows their way into your essence, it stays with you. It travels with you across time and distance. Infectious in its simplicity and insight, just a divine monologue all around." - Daniel Prillaman

"There’s nothing like the early crushes. The long ago infatuations. The details that bridge the distance of time and keep your heart afloat. Williams has gifted us with a lovely nostalgia piece that also dares to go places that sometimes even memory doesn’t like to admit to. But there is love and kinship and a spark and regret, all of which are even easier to remember than some of those details." - Scott Sickles


What Great Question in Life Do You Answer from Can't Live Without You: Bobby, a character in a novel, appears and confronts the writer and the characters in the romance novel his writer has created while leaving him languishing in a desk drawer.

"Imagine the disappointment! The promise to be the next Holden Caulfield only to be relegated to a character no one’s ever going to hear of in a book no one will ever read, not only because it’s never going to be published but because even if it were, it would be utterly forgettable trash.  Unlike living human beings, Bobby can’t set forth on his own destiny. Let him be a reminder that the rest of us are not trapped in on meandering pages that lead nowhere. Williams uses a comic conceit to voice profound existential rage!" - Scott Sickles


Zero Sum Game from The Sugar Ridge Rag:  Dave Granger, an Army medic at a MASH in Vietnam, is home on leave in Sugar Ridge, Ohio, in June 1974. He talks about one night on duty.  Scheduled for inclusion in The Best Men's Monologues 2023 published by Smith & Kraus.

"Did you ever have your eyes water and spill down over your cheeks while reading something? Zero Sum Game did that to me. This is the brief story of the death at the hands of one young man by another. And you understand. You know he did the right thing. But it lingers, this killing." - Marj O'Neill-Butler

"War makes for impossible situations. Dave's tale of taking a life while in Vietnam is brief but powerful, and filled with questions. The one that stuck with me the most is: Who has the right to take a life? The killers in the trenches during a battle? The doctor who decides a patient isn't worth saving? The politicians who sent them all to fight in the first place?  This is part of a larger piece but "Zero Sum Game" easily stands on its own as a thought-provoking and powerful monologue." – Adam Richter

"It’s in the act of mercy that we are left with the deepest of questions. Questions about life, about death certainly, about war, about politics, about our place in the universe and our complicity in the worst aspects of the human condition, despite doing the best we can. In this deeply affecting monologue Philip Middleton Williams bring all of these questions up as a medic commits an act of immense philosophical and ethical import, but keeps grounded in the reality of a situation. A halting reminder that the real price of war may well be our humanity." – Franky Gonzalez

"Maybe would argue that Dave the protagonist did the right thing; I certainly would. He stopped someone’s suffering. But Dave is a man of medicine. Beyond that, perhaps because he has seen so much death, perhaps because of his own dreams for his own life, he cherishes life. Williams illustrates the toll these decisions have on the human soul: not the life and death decisions as much as “this death or that death?” When one person’s suffering ends, the weight of that ending bears down upon the living. Powerful, simply told, endlessly complex." – Scott Sickles

Artwork by Craig Houk

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Synopsis

Marc Griffin has landed his dream job of teaching English at a prestigious New England private day school. But he soon learns that the expectations of the parents and the students put him to the test, and the toughest lessons he learns are about himself as a teacher and a person.

Reviews/Recommendations

"Fleeing to a new job across the country after the dissolution of his long-term relationship, Marc is vulnerable to being manipulated into situations that threaten his job and his reputation. By the end of the play, lessons are learned, a villain escapes unscathed, a student finds his footing as an independent adult, and Marc finds that after adversity there is hope for future happiness. As a character, Marc is flawed but sympathetic. Another excellent, engaging work by Philip Middleton Williams." - Donald E. Baker

"Philip Middleton Williams has his own unique and highly effective style and it is on full display in 'A Good Year.' A young teacher lands his dream job but finds that it comes with a challenge or two. Or three. When trouble rears its head does he do the right thing or the convenient thing? Can he look the other way for a friend, or would that violate his own ethical standards? All this in the midst of a love triangle (or is it a love quadrangle?) he finds himself in. A fine piece by Mr. Williams." - Rand Higbee

"As someone who is studying to become a teacher, I am always intrigued by stories featuring teachers and stories set in a school and Philip Middleton Williams did not disappoint with his compelling drama. The dialogue is witty and engaging, the premise is gripping, and the character interactions put you on the edge of your seat. I loved the twists and turns as well as the love triangles that Philip sets up so well. Compelling and well done!" - Ryan Kaminski

“Philip Middleton Williams’ “A Good Year" is a wonderful play and is highly recommended. I really enjoyed the love of teaching imbued by Marc, as he did what most teachers do: value their students, give all they can to encourage their students, and expect nothing less than the best from their students. The challenges of working in Marc’s “dream job” were more than he might have expected. Marc’s integrity, love of teaching, and his high moral standards were tested. There is much to like in this gem by a very talented playwright.” - Jack Levine

"We experience growth every day, but there are weightier moments, moments we can point to, where the things we encounter instill a resolve in us. These tests remind us not only of the people we are, but the people we hope to be. "A Good Year" is an unflinching example of what remaining true to your morals (whatever they may be) can cost. Money, friendship, dreams, in some cases...everything. But that resolve is something that never goes away. And that matters. Williams has a powerhouse piece of writing on his hands, and I eagerly await where it may go." - Daniel Prillaman

"For Mark, the decision to report a plagiarizing student is no decision at all. His principles are unflinching. Nothing tempts him to cross the line. But Mark does have temptations in which the line isn’t so sharply drawn. Williams has written a wonderful story of men wrestling with decisions that have consequences. In the satisfying conclusion, Mark certainly leaves with some lessons learned. In that regard, it’s been a good year. Even more so for Brian, the HS senior who has lessons that he’ll carry with him for the rest of his life. A thought-provoking piece!" - Kim E. Ruyle

"Another solid piece by Williams. This time, he really brings the heat with the storytelling, the stakes raised, and the sexual tension. Marc Griffin lands a dream job as an English teacher at a prestigious private school, but his success comes at a price as he finds himself grappling (figuratively and literally) with a stubborn out and proud student athlete hellbent on failing. Marc is also having a casual affair with the student’s father, an influential school board member. At times comical, at times provoking, and in the final moments heart wrenching, this play delivers the goods. Highly recommend." - Craig Houk

"Philip Middleton Williams has once again proven that he is a master at dialogue story-telling. This time through the eyes and interactions of Marc Griffin. The teacher is the student metaphor fits perfectly in a year in his life. This is different than his previous shows as tension and release ebb and flow throughout to give a true "A year in the life" type story. The word that keeps coming up for me is authentic. A Good Year is an authentic look into fictional characters.". - Joe Swenson

"Sex, plagiarism, and ethics are given a workout in this drama set in a prestigious high school. Philip Middleton William’s places his protagonist, a newbie teacher, as the ball in a sexual ping pong game between one of his students and the boy’s father – who is on the school’s board. When the student is caught plagiarizing his term paper, all hell breaks loose and no one emerges unscathed. There’s much to admire in this early draft, particularly William’s grasp on the milieu and the stakes involved; one looks forward to its further development." - Doug DeVita

Artwork by Craig Houk

A Life Enriching Community is available from Senior Theatre Resource Center.
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Awards/Recognitions

A Life Enriching Community was chosen as a finalist in The City Theatre National Award for Short Playwriting in 2020.

Production History

A Life Enriching Community was first produced at the New Theatre Miami 1-Acts Festival Winter Session at the Main Street Theatre in Miami Lakes, Florida, on December 20, 2014.  It was included in Hashtag Queer: LGBTQ+ Creative Anthology, Volume 1.

Synopsis

Paul and Adam settle into their new retirement community in South Florida and come to terms with the life that has brought them there.

Reviews/Recommendations

“Williams has this uncanny way of drawing the audience in quickly with the first snippet of action and dialogue. And with A Life Enriching Community, we instantly experience the magnitude of the moment and we begin to react with strong emotion to the chemistry of the characters. An aging gay couple, Paul and Adam, are moving into a South Florida retirement community condo. But why not a bungalow in Key West instead of where they've landed? Well, the answer to that question will tear your heart out. Absolutely devastating. Beautifully crafted as always. Humorous and heart wrenching. Highly recommend." - Craig Houk

"'A Life Enriching Community' was recently performed in City Theatre National Reading Series #3. I thoroughly enjoyed watching it performed. The play is so rich with the beautiful strong emotional connections we form with our life partner. As we enter the final ‘act’ of our lives, it is so important to find the right place to share the rest of your lives together. Memories, old and new, are kept not only in our mind but are also felt in our heart and somewhere in our soul. This is a must-read, must-see play!” - Jack Levine

“A beautiful play about change, end of life and the love story of two people who are growing old together. A finalist in City Theatre National Award for Short Playwriting 2020, The theme is universal, moving and heartbreaking.” - Marj O'Neill-Butler

“Such a beautifully written play about the sacrifices one makes when in love. What is most endearing about these characters is that they're set in their ways but their love for each other takes priority above all else. The dialogue is crisp, the characters are witty, the situation is relatable and the chemistry between the two men will make the actors playing them salivate with joy! They are a gay couple, but these two can be anyone; their experience is universal! LOVED IT!” - Rey Dabalsa

“I recently had the pleasure of experiencing this play when it was presented at the Midwest Dramatists Conference. Philip has done an excellent job in this short play of creating two characters that we come to love. We quickly get a depth of understanding about the relationship between this aging, gay couple, and the transition they are dealing with. There is a lot of subtext packed into ten minutes. I heartily recommend A Life Enriching Community.” - Paul Braverman

“I was fortunate enough to see this at the Inge Festival. It grabbed my heart then just as it did now. There is so much grace and love in this relationship. Williams manages to give us their history through dialogue that is peppered with quips and jabs but served with care. It’s refreshing to see a love story that gives us “later love” and not “first blush.” A beautiful tango for two actors.” - Claudia Inglis Haas

Artwork by Craig Houk

Included in The Best Ten-Minute Plays 2022 published by Smith & Kraus.
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Production History

Home-Style Cooking at the Gateway Cafe was first produced as a reading at the Valdez Theatre Conference in Valdez, Alaska, on June 23, 2021. 

Synopsis

The usual crowd gathers for coffee at their favorite diner in a small western town until a mysterious stranger enters and engages them in conversation. But who's telling the truth and who's not? And what's the lunch special?

Reviews/Recommendations

“Head on over to the Gateway Cafe for some good grub and a reality check. Williams repeatedly undermines audience expectations in this witty and thoughtful look at "America" today. As he targets the duplicity – triplicity? – of our elected officials, he reminds us that we mustn’t judge folks by our preconceived perceptions of what they should be. This large-cast short is a perfect fit for festivals in both red states and blue.” - Robert Weibezahl

“Just when you think Philip Middleton Williams is finished subverting your expectations about this familiar-yet-original cast of diner characters, he subverts them all over again, to great comic effect. This is a hoot of a play that skewers what politicians and the general public think of voters in the proverbial small-town diner. Sheer brilliance! ” - Adam Richter

“What a great short play by the dialogue master, Philip Middleton Williams! Philip takes you on what appears to be an ordinary(ish) day in the life of the Gateway Cafe. When Ray shows up though the world shifts and we get the "don't judge a book by its cover" treatment. However, the "script is flipped," with Ray's revelation of what he "truly" believes. In the event that you stayed with the dialogue path as intended, then you're treated to the reveal and all is well at the Gateway Cafe but not at the bowling alley, I presume. GREAT SHOW!” - Joe Swenson

“I was lucky enough to be at the reading at the Valdez Theatre Conference. A charming, delightful piece, set in a world of believable characters with intriguing dynamics - and some fantastic secrets! This play is delicious, and I only hope that one day we get to see a full length version - you will want seconds at the Gateway Cafe!” - Arthur M. Jolly

“Philip Middleton Williams dishes up a slice of small town life, with a twist of humor and wisdom. I could feast on the luscious details so astutely woven into the dialogue, as each character’s choice of words let me peak beneath the surface. Leave your assumptions aside and take a seat at the counter in this little gem of a play.” - Jan Probst

“Philip Middleton Williams once again demonstrates that he has a gift for poetic naturalism and an ear for the way folks in small towns talk and live their lives. There’s community. There’s work that needs to be done. And there’s the agreeing as a group to “yes-and” each other’s stories to demonstrate a unified front in the face of a weasel of an authority figure. This play has a couple of truly unexpected turns which gives the place and the people who live, work, and eat there a textured richness that is both magic and believable.” - John Patrick Bray

“Right about the time when I started thinking this play was going to be just another depiction of small-town life, it flipped on me and went in a direction I never saw coming! I was delighted! The characters are absolutely delightful, and the twist in plot employed by Philip Middleton Williams makes this short play more than satisfying! HOME-STYLE COOKING AT THE GATEWAY CAFE is as delicious as Celeste's lunch special! Eat up, and enjoy!” - Debbie Lamedman

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Begging the Question
How do you pull off the perfect proposal?

Planning Ahead
Even the best-laid plans can hit a roadblock.

Climate Change
Cold enough for you?

Welcome to Fourbucks
Ordering coffee can be complicated.

Spoiler Alert
Hey, let's go to the movies!

Unforgivable
You had one job...

Gee, Your Butt Smells Terrific
Sam and Ben meet up at the dog park.

Off the Rails
Riding the Miami Metrorail has its moments.

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Synopsis

Mitch and Ben have landed jobs for the summer, working poolside at a resort in the Florida Keys. Since it's the off-season, they're looking forward to a quiet and restful twelve weeks. Little do they know... When they meet Alex and Miriam, a couple from California, it soon becomes apparent that there are things to be learned about each other and themselves during the day and after-hours.

Reviews/Recommendations

"'Cabana Boy' dramatizes bittersweet, heartbreaking personal growth catalyzed by very unusual circumstances. I felt strongly for Mitch and Alex, but understood Miriam's desire for practicality and protection. Audiences will enjoy these strongly drawn, fully dimensional characters whose desires and agendas that are often at odds with one another. And the sunny and playful setting provides a nice juxtaposition to the heavy personal growth in this play. I'd love to see a production." - Steven G. Martin

"On first glance of the plot arc, 'Cabana Boy' is a heartbreaking, weighty story, but it never felt that way reading Williams' words. It's always interesting to consider "the product" vs "the person" when living as a public figure--I loved seeing how this play examined this internal dilemma for both Alex and Miriam. This play was genuinely funny and full of literary references from top to bottom and ended with a complex, melancholy but hopeful outcome. I'd be very excited to see a reading or production of this play... and I'd very much want to play Mitch!" - Peter Fenton

"'Cabana Boy' seems like it should be longer. I don't mean that anything is missing, because it isn't, or that Philip Middleton Williams gives his characters short shrift, because he doesn't.  I mean that after reading this beautifully written, moving coming-of-age play, I couldn't believe that it was only 60 pages long.  He built an entire universe, gave us four sympathetic and emotionally complex characters and gave them a tight, well-paced story of love, first times and longing that is painfully beautiful.  Brilliant work, as always. I would love to see this on stage. Bravo!" - Adam Richter

"Another thoughtful, atmospheric piece by Mr. Williams. The characters seem close to stereotypes at first but then surprise us more than once by being more complex and better people than we expect. There's some nice, effortless humor woven into the very natural dialogue, and the play is very sexy without being obvious or vulgar. It's all done with compassion and understated charm." - Tom Rowan

"'Cabana Boy' is an honest, charming, and heartfelt coming of age/sexuality tale, beautifully written by Philip Middleton Williams. I can easily imagine these characters, the setting, and the story as Williams has such a strong attention to detail. Great work, and I hope to one day see it performed live!" - David Lipschutz

"Williams has constructed a tight four-hander with real heart. 'Cabana Boy''s careful plotting and deft character construction combine to create a compelling story that focuses both on a deeply personal story of first love and a larger tale about the perils of fame. It's both artfully contained and expansive at the same time, and would be well-served with a production." - Tom Moran

"The setting up of character and plot in Williams' 'Cabana Boy' is natural and effortless, and as with all great writing, the play gets under your skin without you noticing what's happening. The play is masterfully structured, and Williams deftly sidesteps every possible cliche to create something of considerable originality and with plenty of surprises. There is a gentle humanity to Williams' writing which I always relish. This play is also powerfully erotic, and I look forward to one day seeing a production where these elements can be fully realised." - Daniel Emlyn-Jones

"A summer love story with interesting power dynamics at play. Philip Middleton Williams makes the art of playwriting seem so simple because he structures his stories so well. A joy to read and no doubt a pleasure for audiences to see." - Morey Norkin

“Phillip Middleton Williams has done it again. 'Cabana Boy' captures the engrossing, carried-away-with-the-current quality of first love beautifully, crafting a relatable protagonist you feel for, even as life and love deals him a challenging hand. The play uses its tight cast well, managing to build a world believably with four roles and a handful of referenced supporting players. I’d relish the chance to see this staged!" - Sam Heyman

“In 'Cabana Boy' Mr. Williams has given us a quick, breezy romantic comedy for our modern-day world. The plot centers around a love triangle...or maybe it's a love quadrangle? Read and find out for yourself! There are good acting opportunities for four people and any scene designer would delight at the possibilities." - Rand Higbee

“I'll grant you that the title sounds like a racy sex romp, but 'Cabana Boy' is a beautifully done gay coming of age tale. The first scene ends with a line forecasting untoward machinations. The last scene provides a warm closure of contentment. And I, as a lighting designer, would love to do this play with the amber haze of seaside sunsets off left doing battle with the hotel's harsh mercury lights from off right. Thanks Philip Middleton Williams for yet another fine play." - Kenneth N. Kurtz

“I applaud Mr. Williams for this engrossing and entertaining play, with characters we care about, and attention to detail. This is a play that should have a fine future and deserves a production! A truly enjoyable read. - Bruce Karp

“When Mitch has his first sexual experience with another man, one who is more worldly and experienced but is also married and deeply closeted, both of them face choices that will fundamentally change their lives. Williams handles this material with his usual deftness and the result is an excellent play with three-dimensional characters the audience will care about. Bravo! - Donald E. Baker

Download Script Sample

Synopsis

George and Marjorie come all the way to South Beach to meet the man their son Steve is going to marry. Hilarity ensues.

Reviews/Recommendations

"'Cabana Boy' dramatizes bittersweet, heartbreaking personal growth catalyzed by very unusual circumstances. I felt strongly for Mitch and Alex, but understood Miriam's desire for practicality and protection. Audiences will enjoy these strongly drawn, fully dimensional characters whose desires and agendas that are often at odds with one another. And the sunny and playful setting provides a nice juxtaposition to the heavy personal growth in this play. I'd love to see a production." - Steven G. Martin

"On first glance of the plot arc, 'Cabana Boy' is a heartbreaking, weighty story, but it never felt that way reading Williams' words. It's always interesting to consider "the product" vs "the person" when living as a public figure--I loved seeing how this play examined this internal dilemma for both Alex and Miriam. This play was genuinely funny and full of literary references from top to bottom and ended with a complex, melancholy but hopeful outcome. I'd be very excited to see a reading or production of this play... and I'd very much want to play Mitch!" - Peter Fenton

"'Cabana Boy' seems like it should be longer. I don't mean that anything is missing, because it isn't, or that Philip Middleton Williams gives his characters short shrift, because he doesn't.  I mean that after reading this beautifully written, moving coming-of-age play, I couldn't believe that it was only 60 pages long.  He built an entire universe, gave us four sympathetic and emotionally complex characters and gave them a tight, well-paced story of love, first times and longing that is painfully beautiful.  Brilliant work, as always. I would love to see this on stage. Bravo!" - Adam Richter

"Another thoughtful, atmospheric piece by Mr. Williams. The characters seem close to stereotypes at first but then surprise us more than once by being more complex and better people than we expect. There's some nice, effortless humor woven into the very natural dialogue, and the play is very sexy without being obvious or vulgar. It's all done with compassion and understated charm." - Tom Rowan

"'Cabana Boy' is an honest, charming, and heartfelt coming of age/sexuality tale, beautifully written by Philip Middleton Williams. I can easily imagine these characters, the setting, and the story as Williams has such a strong attention to detail. Great work, and I hope to one day see it performed live!" - David Lipschutz

"Williams has constructed a tight four-hander with real heart. 'Cabana Boy''s careful plotting and deft character construction combine to create a compelling story that focuses both on a deeply personal story of first love and a larger tale about the perils of fame. It's both artfully contained and expansive at the same time, and would be well-served with a production." - Tom Moran

"The setting up of character and plot in Williams' 'Cabana Boy' is natural and effortless, and as with all great writing, the play gets under your skin without you noticing what's happening. The play is masterfully structured, and Williams deftly sidesteps every possible cliche to create something of considerable originality and with plenty of surprises. There is a gentle humanity to Williams' writing which I always relish. This play is also powerfully erotic, and I look forward to one day seeing a production where these elements can be fully realised." - Daniel Emlyn-Jones

"A summer love story with interesting power dynamics at play. Philip Middleton Williams makes the art of playwriting seem so simple because he structures his stories so well. A joy to read and no doubt a pleasure for audiences to see." - Morey Norkin

“Phillip Middleton Williams has done it again. 'Cabana Boy' captures the engrossing, carried-away-with-the-current quality of first love beautifully, crafting a relatable protagonist you feel for, even as life and love deals him a challenging hand. The play uses its tight cast well, managing to build a world believably with four roles and a handful of referenced supporting players. I’d relish the chance to see this staged!" - Sam Heyman

“In 'Cabana Boy' Mr. Williams has given us a quick, breezy romantic comedy for our modern-day world. The plot centers around a love triangle...or maybe it's a love quadrangle? Read and find out for yourself! There are good acting opportunities for four people and any scene designer would delight at the possibilities." - Rand Higbee

“I'll grant you that the title sounds like a racy sex romp, but 'Cabana Boy' is a beautifully done gay coming of age tale. The first scene ends with a line forecasting untoward machinations. The last scene provides a warm closure of contentment. And I, as a lighting designer, would love to do this play with the amber haze of seaside sunsets off left doing battle with the hotel's harsh mercury lights from off right. Thanks Philip Middleton Williams for yet another fine play." - Kenneth N. Kurtz

“I applaud Mr. Williams for this engrossing and entertaining play, with characters we care about, and attention to detail. This is a play that should have a fine future and deserves a production! A truly enjoyable read. - Bruce Karp

“When Mitch has his first sexual experience with another man, one who is more worldly and experienced but is also married and deeply closeted, both of them face choices that will fundamentally change their lives. Williams handles this material with his usual deftness and the result is an excellent play with three-dimensional characters the audience will care about. Bravo! - Donald E. Baker