Chicago Tribune - Somewhat Recommended
"...Lin is exploring the experience of a kid from a privileged background who decides to jettison his handouts and live among those to whom life has dealt very different circumstances. In the best scenes of the play, and many of them are very moving, Lin goes after the sheer impossibility of really doing that in a way that actually works out well for anybody. Similarly, thanks in no small part to Thulin's throat-catching performance, you get a strong sense of how the bereaved often are compelled to search for answers, grasping at anything that conveys understanding. Most particularly, Thulin beautifully catches the way we so often act when in pain. At one moment, we're calm and rational; at others, anger or confusion shoots out of our mouths, sometimes scaring those who are trying to help."
Chicago Sun Times - Recommended
"...The plight of immigrants — both documented and undocumented, long-established citizens or in an existence just below the radar — is a hot topic these days, both on Capitol Hill and on stage. This Steep Theatre production of “Fallow” (a Midwest premiere) is ambitious, but flawed, and at times painfully self-conscious, and comes at the subject from dual perspectives. And as one of his characters insightfully observes: “We are both afraid of different things.”"
Centerstage - Highly Recommended
"...The secret lives of bees and migrant agricultural workers is the milieu. "Rural California," as lead character Aaron puts it, in the America of cellphones, Monsanto, and the growing disparity between the haves and the have-nots. Aaron (played with careful fervency by Brendan Meyer) is on a young man's Kerouac-style tear through the agri-belt, making his way from field to field as a beekeeper. Kendra Thulin does a heartbreakingly good job playing Aaron's mother; a congressman's daughter, sifting through Aaron's fragmentary letters, written to her on scraps of paper and mailed to her with rare collectible stamps."
ChicagoCritic - Highly Recommended
"...There is dignity to this story as we empathize and learn to love Aaron; respect Happy and grieve with Elizabeth. The depth the Meyer's Aaron, Garcia's Happy and Thulin's Elizabeth reach through their lives makes Fallow a compelling drama. The themes of hope, total acceptance and the search for one's place in life are effectively presented. Aaron and Happy put faces on hopeful individuality that seem to emerge despite the ugliness of society. Fallow is heartfelt, well written, and nicely staged and acted play that will leave you glad you meet Aaron and Happy. Ultimately, Fallow is Brendan Meyer's play. His strong yet understated performance was outstanding. This guy has a bright future."
Let's Play at ChicagoNow - Recommended
"...FALLOW is about a jilted rich kid running away to find himself. Lin tells the tale through letters written by Aaron (played by Brendan Meyer) to his mother (played by Kendra Thulin). Meyer effectively transforms as his fascination with hard-working bees translates to hard-working field workers. Meyer's physical metamorphism is obvious with a beard, long hair and even the illusion of leaner body mass. It's Meyer's soulful alteration that is more startling. Two of Lin's scenes powerfully illustrate Meyer's charming, carefree past and his haunted, enlightened existence. During the show the scenes, one at a frat house and the other at a Bass Pro Store, seem disjointed to the flow of the play. It's only in reflecting on the play is the purpose for these well-acted, yet ultimately odd, scenes apparent. Under the purposeful direction of Keira Fromm, Meyer continues to evolve in his self identification."
Chicago Theatre Review - Not Recommended
"...This show addresses timely and relevant themes, but I wish Lin had given them a more interesting play to inhabit. It's a shame, because Fallow's cast showed up to play the hell out of this thing. Kendra Thulin brings real anguish to the role of Elizabeth, and Jose Antonio Garcia plays Happy with confidence and brio. There are some really nice human moments scattered about, particularly in the alternately fraught and tender exchanges between Happy and Elizabeth, but Lin just doesn't give his characters anything new to say about the charged topics presented here."
