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Tom Rowan

Burning Leaves

October 11, 2026

In Tom Rowan’s "Burning Leaves," a play of considerable tenderness and moral complexity, the distance between being someone’s inspiration and becoming someone’s responsibility proves both exhilarating and perilous. Presented by The Other Side of Silence (TOSOS), the long-running LGBTQIA+ theater company whose work has consistently illuminated lives too often pushed to the margins, this production finds an abundance of humanity in a story about a young teacher, a vulnerable teenager, and the sometimes treacherous territory between emotional intimacy and professional obligation. Set in 2007, in a small Illinois town where acceptance of gay identity is hardly a civic virtue, the play examines what it means for a young person to encounter, perhaps for the first time, an adult who makes a more expansive future seem imaginable. Its achievement lies in recognizing that the need for such a connection is real, even as the consequences of acting upon it can be devastating. [more]

ON THE TOWN WITH CHIP DEFFAA… AT “THE EDGE MOTEL”

September 25, 2026

"The Edge Motel" is a well-crafted, intricately plotted play. And playwright Tom Rowan certainly has a good feel for dialogue.  (He’s a member of the Ensemble Studio Theatre, whose work I’ve enjoyed quite a bit over the years. And I'd also heard good things from friends about a play that he had in the Dream Up Festival last year, which I was not able to get to; so I was eager to see this new play of his, whether or not I wound up writing about.) This new play has just three characters, and one simple set.  The running time is one hour and 45 minutes, with no intermission.  And "The Edge Motel" held me from beginning to end. A bit of judicious pruning would make this good play even better. (More about that later.)  But it’s been years since I’ve enjoyed so much a play that arrived with almost no advance publicity.  This one really took me by surprise. [more]

Behind the Sheet

January 22, 2019

Obviously, this is a play for which any sort of a happy ending will be deeply compromised, but what Simpson does so beautifully is show us how these women overcome their suspicions and envy to find support in one another. It’s tempting for playwrights to work toward such an end by wallowing in sentimentality. However, it never seems that Simpson, Robert or the talented women portraying these characters are pulling frantically at our heartstrings. The plot unfolds simply and satisfyingly, with the characters’ behavior always plausible and unforced. Surprising moments of humor serve as grace notes to an otherwise somber story. [more]