I And You at Redtwist Theatre

Stage and Cinema - Recommended

"...Compensating for Gundersen's incredible debt to Tennessee Williams for the candlelit scene, situation and pep talk that fuel I and You, the author finds a very different tone for the talk. These very natural kids chat and scream just like 2014 teens. Grace Melon and Rejinal Simon make much of the cute, earthy shock-effects embedded in their dialogue. Their lines could double as so many texts and their eventual affection feels very unforced. Opposites can attract in so many ways and this contrived affinity is, whatever the author's larger vision, completely convincing from minute to minute. Only at the end will you wonder if, taking it to the next level, Gunderson went a bridge too far."

ChicagoCritic - Somewhat Recommended

"...This play was given a rolling premiere by the National New Play Network, was published in the summer edition of American Theatre Magazine, and beat Aaron Posner’s Stupid Fucking Bird to win the Harold and Mimi Steinberg/American Theatre Critics Association New Play Award, netting Gunderson $25,000, so there must be an audience for it somewhere. I think a lot of theatre-goers will enjoy the fantasy of high schoolers falling in love with classic poetry. Set designer Sarah JHP Watkins and costume designer Allison Smith did a lot to flesh out Redtwist’s production. But as far as cosmic struggles over the meaning of life and death go, there just isn’t that much going on."

Chicago Stage and Screen - Somewhat Recommended

"...I And You grapples with puzzling life questions that can easily be appreciated for their gravity. Somehow in the telling, the most important ‘small things’ that bring people together initially and remind them of their unified existence are lost. Walt Whitman’s own message of togetherness would be better served by a dedicated stageplay and Caroline’s cause would be better served if we were allowed to explore her tale unhindered."

Around The Town Chicago - Recommended

"...There is some strong mystery in this story that I will not divulge, except to say that one must listen very closely to every word that Gunderson has written. If you concentrate and listen, clearly the surprise ending will make sense. I was very impressed with the handling of every detail of the story telling experience; the lighting (Zoe Mikel-Stites), sound (David Prete), and props (Robert Eric Shoemaker). It is a shame that due to the size of the theater and the shortness of the run, many of you will not get an opportunity to see this premiere."