"Peter Storms is not only professional and meticulous as a musical director but more than that, as an accompanist he carries the singer and connects emotionally to the performer to make perfect musical moments on stage. Offstage he is just genuinely fun to work with."
Michael Londra, The Voice of Riverdance and Beyond Celtic

"I love working with Peter! Whether accompanying auditions, writing arrangements, or playing performances, I can always count on him without reservation. In addition to being completely reliable, he is always a calm and positive presence. In my position as Musical Director for the Theatre Department at Columbia College Chicago, I frequently hire accompanists to work with my students. It is very important that I can trust them not only to play well, but also to set an example of professionalism and treat my students with respect and kindness. Peter is at the top of the list of people I call upon."
Andra Velis Simon

"Peter Storms' work on INVASION! created the rhythms and beats for a play that moved us from the 18th century to contemporary hip-hop, from newsroom to dive bar, O'Hare Airport to disco. His sense of play, flexibility and calm in the face of the challenges was an great asset in creating the worlds of this production. He was good to have in the room and a willing collaborator in this wild ride of a play."
Anna Bahow

"But the literally detonating second act (sound designer Peter Storms lives up to his name) traps us as much as the project’s personnel."
Lawrence Bommer, www.stageandcinema.com

"Sound designer Peter J. Storms has contributed a wistfully melodic incidental music score."
John Olson, TalkinBroadway.com

"What it does most successfully is complement the sound design by Peter J. Storms, the most successful design element, which underscores the action and truly melds the modern and ancient, and the sacred and the secular."
Kristen Brockmann, Chicago Stage Standard

"The other quality that transports the audience for this theater experience is the sound design and original score by Peter J. Storms..."
Phil Potempa, Northwest Indiana Times

"...the music by Peter J. Storms is sheer perfection to the moods being set in each of the scenes..."
Al Bresloff, Around the Town Chicago

"With athletic precision, the actors rearrange benches to create each setting; thanks to Peter Storms’s sophisticated sound design, we see, hear and almost smell the ballpark, bullpen, bus and locker room."
Emily Gordon, TimeOut Chicago

"Peter Storms' music and sound design is particularly effective."
Doug Deuchler, Wednesday Journal

"The vocally assured cast offers tight harmony to Mark Hollmann and Greg Kotis’ pastiche-heavy score, thanks to excellent music direction by Peter J. Storms. The band of four, housed in the bowels of Bob Knuth’s rusty pipe-filled set, offers solid support."
Bob Bullen, chitheatreaddict.com

"But Mouawad’s laserlike vision and heated language, combined with the actors’ prowess and the very handsome design work by Tom Burch, Sarah Hughey, Carol J. Blanchard, Peter J. Storms and Mike Tutaj, result in genuine 'scorched earth' theater."
Hedy Weiss, Chicago Sun-Times

"I found Peter to be a wonderful collaborator and a very talented composer whose music added immeasurable depth, atmosphere and beauty to the production. I couldn't have been more pleased with the final results. Peter was receptive, flexible and patient, and his commitment to the process was evident. On a personal level Peter is extremely pleasant and good humored, which always makes collaboration more rewarding. He's someone I really hope to work with again."
Dale Heinen, Director

"The analytical engine, by the way, is unseen - located in an adjacent barn - but we hear it working. It sounds something like a locomotive trying to drown out an earthquake. Peter J. Storms created the perfect sound design."
Doug Deuchler, Wednesday Journal

"Bob Knuth's boudoir set and Peter Storms's sound back up Farrell's authenticity; Big Daddy's sultry home couldn't look more the part of a luxurious prison as these Delta-hothouse inmates rip themselves apart."
Caitlin Montanye Parrish, TimeOut Chicago

"Peter J. Storms' sound design does much to heighten the moods and settings..."
Doug Deuchler, Wednesday Journal

"...a tropical set and sound effects that make you almost feel the heat..."
Dennis Polkow, New City Chicago

"Peter J. Storms created a fine sound design. In a show like this where much of the rugby game, the roaring crowd, and other situations are vital, the sound cues and background noise have to be realistic to work.."
Doug Deuchler, Wednesday Journal

"Lighting tricks and sound effects transform a simply designed car into shelter from an unforgiving highway.."
Justin Sondak, CenterStage

"an expert jazz band swing led by music director Peter J. Storms"
Scott C. Morgan, Windy City Times

"The orchestrations have been adroitly pared down to a jazz quartet by the music director Peter J. Storms. Vocally, the cast sounds great, especially when serving as an ominous but swing-tempoed Greek chorus…"
Scotty Zacher, Gay Chicago

Just Wanderer

"The lighting (Jared Moore) and sound (Peter Storms) worked in perfect tandem to create the rain storm and lightning that were an important part of the story."
Al Bresloff, Salsachicago.com

" "sensational sound by the aptly named Peter Storms"
Hedy Weiss, Chicago Sun-Times

"The main thing about any version of Gilbert and Sullivan is that it must be well sung (it IS operetta) and well-enunciated. With Savage as director, and nimble-fingered Peter Storms as piano accompanist, this production scores on both counts, providing attractive, trained singers in all principal roles."
Jonathan Abarbanel, Windy City Times