“Chrystal E Williams’s Katerina is sensuously sung – the voluptuous promise of her middle-register absolutely fulfilled at the top.”  Alexandra Coghlan, Inews 2021

“Being able to experience her variousness at close quarters is a privilege when the soprano is as electrifying and engaged as Chrystal E Williams … Every top note is a full flare, not easy in a role with a taxingly high tessitura…”
David Nice, The Arts Desk

“The mezzo-soprano Chrystal E Williams deserved her roars of praise for her portrayal of Katerina, fearless and expressive, raw but nuanced.”  Fiona Maddocks, The Guardian

“One difference this time came with the venue itself: marginally smaller and warmer than BOC’s usual disused factories, it turned out to have a pretty decent acoustic. That meant that the quiet moments actually worked — never a given with these promenade productions — and we could hear just enough compassionate softness in Chrystal E. Williams’s steely, seductively phrased Katerina to make her into a character rather than a cartoon.”
Richard Bratby, The Spectator

“Chrystal E Williams lights up the room as the gloriously murderous Katerina. It’s a nice touch that Block 9’s eclectic costume designs have her initially dressed in West African-style fabrics with gaudy prints of fungus and rodents – her first victim, her father-in-law, will be seen off in the kitchen with rat poison in his mushroom stew. Later, alone in her wedding dress on the ballroom floor, she holds the audience rapt with her aria of broken-hearted disillusionment.” Erica Jeal, The Guardian

“As Katerina (the Lady Macbeth of the title), Chrystal E Williams is purringly magnificent – a gorgeous creature who is desperate for more action than her weedy husband (Joshua Stewart) and leering father-in-law (Eric Greene, a velvet-voiced bully) can provide.”
Amanda Holloway, The Stage