1960's (and even earlier)

GOLDEN BOY (1952, University of Tennessee Theater)

"It's not often that I feel moved to put an actor first in a review, because I feel that the Play's the thing, even when the play is as old and widely known as Clifford Odets' "Golden Boy." But John Cullum did such a beautiful job in the UT Theater's production of that play last night that he rates the best of whatever dubious honors I can bestow.  I first saw Cullum in the UT production of "Journey's End."  He did well in what I thought was a fatuous role.  Each time I have seen him since, he has impressed me more favorably.  I'm sure he reached a pinnacle of his college dramatic career last night as Joe Bonaparte.  I suppose he will end up as an insurance salesman, newspaper hack or something worse (don't say it) after graduation, but it's nice to write about the forlorn possibility that he will fight the Herculean battle of show business to the top."  - Norman Hoss, 'The Lively Arts,' Knoxville Journal, 1/25/52

Dance Drama Company (1958)

"The programs were narrated by John Cullum, whose modestly theatrical manner added a pleasing note."  - Doris Hering, Dance Magazine, 8/58

THE SAVING GRACE (1963, Off-Broadway)

"John Cullum...is unquestionably able to take over the stage when the occasion demands." Edith Oliver, The New Yorker, 4/27/63

HAMLET (1964, Broadway; Complete and "highlights" cast recordings)

"John Cullum is a dynamic Laertes, whose rage and anguish at his father's murder and his sister's drowning are a wave of heat from the stage. The duel scene (Burton and Cullum) is excellent." Norman Nadel, NY World Telegraph & Sun, 4/10/64

CAMELOT (1964, Paper Mill Playhouse)

"John Cullum is solid, full-voiced and curiously affecting as the ugly Wart who finds himself King of England after pulling the sword from the stone. Cullum has a Burton-like quickness of movement and a fine strain of sincerity in his manner. The final scene of the first act is made particularly touching by his command of an emotional moment." Allan Branigan, Newark Evening News, 11/4/64.

ON A CLEAR DAY YOU CAN SEE FOREVER (1965-66, Broadway, and Original Cast Album)

"We can be grateful as well for whatever circumstances catapulted John Cullum into the role of the psychiatrist... His Burtonesque speech is articulate and vibrant. He sings well, if not quite effortlessly, and he emanates strength of character." Norman Nadel, NY World Telegram and The Sun, 10/18/65

"Mr. Cullum, who has a fine voice and maintains a believable Prussian accent all evening, is entrusted with the show's best song, "On a Clear Day." It is a most ingratiating tune, sure to be heard everywhere, and he delivers it with poise and an excellent sense of timing." John McClain, Journal American, 10/18/65

"For a musical to have both a large bag of superior songs and principals who can sing is a rare combination these days." John S. Wilson, NY Times, 11/7/65

"John Cullum makes quite an impression with his singing, his acting, and his personality." George Oppenheimer, Newsday 10/18/65

"John, a graduate of the University of Tennessee (speech major), really burst into prominence when he replaced Louis Jourdan [in "On a Clear Day..."] just before the opening of the much publicized musical. Although he had understudied Richard Burton in "Camelot" and played Laertes in Burton's famous "Hamlet," he was relatively unknown to us. But when he opened his mouth to sing the title song and out came this strong, smooth baritone voice, he woke up the entire audience." Earl Wilson, Knoxville Journal, 12/3/65

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