"The dialogue is quick, explosive, and laden with a generous amount of humor. This world feels lived in, researched, and is believable because of it."
-- Max Kaplow, DC Theatre Scene reviewing 2015 Capitl Fringe production of Graceless

"An admirable production. Graceless examines not just political power, but the powerful chain reaction that personal relationships can have on a person, a city, a country. 4 Stars."
-- Allison Frisch, DC Metro Theater Arts reviewing 2015 Capitl Fringe production of Graceless

"the sickest show in town... capped by a resolution that is spiritual and hopeful."
-- Marc Miller, Backstage reviewing Killing Time

"Tom's range and versatility just floors me; these two pieces couldn't be more different from each other!"
-- Martin Denton talking about Graceless and Farewell to Sanity on

"His beautifully flawed characters speak to honest dilemmas, and force the audience and actors to examine their own judgments and prejudices, while instilling hope in some of the darkest places."
-- London Griffith, Assistant Producing Artistic Director of Planet Connections Theater Festivity

"Tom writes characters that are whole, complex, and vulnerable--even if they have the thickest of walls. HIs comedy is as organic and nuanced as his drama. And as a director who is capable of directing his own writing--he is the most rare of talents who is able to separate the hats and still sees the actor as an artist with his or her own creative voice within the play."
-- David Stallings, Artistic Director of MTWorks

"If you have not seen Killing Time, do not miss it. It's a rare piece of theater that can generate laughs and provoke thought with equal dexterity. The cast and production team will entertain and challenge you, and you will leave with your mind buzzing and belly aching (from laughing). When I saw it, they had to turn people away at the door, so don't miss your chance!"
-- Tom Evans, Actor, Director, Producer
reviewing Killing Time

"Saw the show tonight and was blown away. The story is compelling and the actors made the 90 minutes melt away. This play is a must see. Everyone in the packed audience loved the show. If you are on the fence just go see this show."
-- John Colasante reviewing Killing Time

"Killing Time was wonderful. It was clever, relevant, laugh out funny, and touching."
-- Victoria Giazioli, Actor reviewing Killing Time



"I watch as Tom Slot and his band play through a set of twelve originals and two covers, and I'm reminded of why I dig them so much: in addition to being an incredibility tight and talented band, they are just fun to watch. Their enthusiasm is contagious. "
-- Mike Perone, Long Island Voice Music Reporter

"a gutsy and solid sound with all the perks including catchy lyrics and intricate guitar work."
-- Erin Riley,

"Tom Slot is easy on the ears. It's acoustic driven music with feeling."
-- Laurin Wollan, Music Monthly

“The music is just so inspirational…I highly recommend Another Place I Can't Go Back to indie, rock, and country fans.”
– A review of Another Place I Can't Go Back, from

“A great country rock voice that makes me think of Bon Jovi.”
– A review of Another Place I Can't Go Back, from

“Powerful vocals that create a “sitting in a coffee shop watching the world go by" feeling.”
– A review of Inconsequential, from

“Strong lead vocals that remind me of John Bon Jovi and the harmonies are tight. This song should be on the radio.”
– A review of Another Place I Can't Go Back, from



"Tom Slot's Slurm is a lot of fun and gives him the chance to sing the play's best song."
-- Matt Roberson, NY reviewing Tom Slot's performance in Super Sidekick

"a thoughtful villian."
-- Linnea Covington, The Happiest Medium reviewing Tom Slot's performance in Super Sidekick

"Tom Slot plays Lucas in a poetically drug-induced mixture of touching sentiment and foregone cynicism."
-- Karen Tortora-Lee, The Fab Marquee reviewing Tom Slot's performance in Tell It To Me Slowly

"fabulously imaginative and at the same time completely believable."
-- Hannah Gold, reviewing Tom Slot's performance in Tell It To Me Slowly

"Four Stars."
-- Time Out Magazine, reviewing Tom Slot's performance in Tell It To Me Slowly

"Tom Slot was an impressive Jonathan Harker. He easily showed the anguish of being torn between the love of his life and the lure of the unknown."
-- Carol Lewis, Frederick Gazette

"..several stand-out performances, one of which was Slot as Teiresias. Slot plays the old, blind prophet with so much realism and anger that I had to remind myself that he isn't, in reality, old and blind."
-- Valerie McCahan, Loyola Greyhound

"Squinting, shaking, and hollering, Tom Slot has great fun countering Oedipus in his role as the blind and sickly prophet, Teiresias, during the highlight of the play. Dressed in jangly, tiny bells and an animal's hide, he develops a perfect, taunting rapport with the title character."
-- Mike Perone, Loyola Greyhound



"Tom Slot’s adaptation of the Scottish play, “Macbeth (of the Oppressed),” is rocking the house at the Theater at the 14th Street Y in lower Manhattan. Slot directs this thrillingly talented cast featuring Antonio Minino as Macbeth and David Stallings as Husband Macbeth. A quick perusal of the program featuring color- and gender-blind casting piqued my interest … a perfect pre-Halloween brew of misdirection, intrigue and, ultimately, Destiny.…The splatter patterns on the floor of the set notified the wary that “something wicked this way comes” and wicked indeed it was as the masterful adaptation unfolded.”
-- Sherri Rase, Q On Stage

"The trick to understanding this production is in three sets of simple yet important facts: the cast is wonderfully diverse (at least compared to most productions seen on city stages), exactly half those cast members are women, and many prominent characters’ genders and relationships are switched. Put these three facts together and you create a production that gives resounding voice to those who society would rather ignore. And to superimpose these ideas onto a play about power is incredibly smart."
-- Sarah Webber, Theatre Is Easy

"If you watch and listen, you will see and hear an extraordinary Macbeth. The lesson here is that the passions transcend individual human concerns; they are universal. With non-traditional casting, comes the equal opportunity right to suffer…jealousy, hate, rage, greed, lust, power, love, and, the mostly absent, joy of life belong to all of us. See Macbeth (of the Oppressed) to appreciate the language, the acting, and, most importantly the contemporary message about the human condition. If “life is a tale told by an idiot,” I’d choose this company to explain it to me, signifying everything."
-- Deborah S. Greenhut, Art Values Education