Chicago Reader - Somewhat Recommended
"...Parks has thoroughly and vividly imagined that alternate world, incorporating elements of Brechtian fable and Jacobean tragedy. Urban Theater Company's fitfully effective production boasts some impassioned performances—especially from Kelly Owens, whose Hester is a howl of pain personified. But Richard Perez's static staging never supplies the heightened theatricality the script demands."
Centerstage - Somewhat Recommended
"...Emotional intensity smoldering on the brink of ignition is Urban Theater's stock-in-trade, but any first production in a new space presents unforeseen challenges—especially when the auditorium is big enough to house a dozen of the storefronts comprising this neighborhood company's former quarters. Lyndsay Rose Kane and Madrid St. Angelo, veteran players of troupes specializing in epic extravaganzas (Vitalist Theatre et al.), enable Canary Mary and the Butcher to readily assume command of the stage for their appearances, as does Kelly Owens' Hester, whom director Richard Perez wisely locates downstage whenever practical."
Chicago Stage Review - Highly Recommended
"...UrbanTheater Company fearlessly dives into the Midwest premiere of this script with no holds barred. There is a grit to this story, and their production, that is so visceral you can almost taste it and yet there are fleeting moments of loveliness that linger above the chaos like a strange mist."
Time Out Chicago - Recommended
"...Parks’s Brechtian use of music is exemplified by a trio sung by three newly freed prisoners in Act II. But as the plot’s intensity builds, the songs interrupt the play’s momentum. When escaped convict Monster (Lance Newton) breaks into song while running for his life, the scene’s energy dissipates; it’s as if the music is perfectly timed to ruin the play’s tense final moments."
Stage and Cinema - Somewhat Recommended
"...In spite of its Orwellian flavor, the play doesn’t make any importance social statement. Its narrative is disjointed and its dramatic impact relies mostly on shock (Hester is raped on stage and there is much blood-letting). The play may aspire to tragedy but it’s mired in gloominess to no particular purpose. The butcher’s marvelous cadenza and his song “A Meat Man Is a Good Man to Marry” provide the only bits of humor in the play, and are they ever welcome!"
ChicagoCritic - Not Recommended
"...I’m not sure who the audience is for this strange play? I believe that Susan-Lori Parks is an over-rated playwright since much of her work is provocative just to be provocative. Maybe I’m just tired of plays about apocalyptic world populated by nasty troubled folks? Don’t give up on the talented folks at Urban Theater Company because they selected an unmanageable play."
Let's Play at ChicagoNow - Recommended
"...Under the direction of Richard Perez, the action is staged in a variety of corners of the theatre. The large and talented cast bring their A game! In the lead, Kelly Owens (Hester) is flawlessly flawed. She’s a mother obsessed. Owens’ blind faith in her love for her son and her hate for his accuser is tragically heartbreaking. The brightspots in her dank life are the kind-hearted whore and the loving butcher. Lyndsay Rose Kane (Canary Mary aka whore) is a sexy, hot mess. A self-absorbed Kane delivers moments of pure compassion for Owens. The pairing of the *A* gal pals is oddly perfect. A hilarious Madrid St. Angelo (butcher) rattles off a litany of his daughter’s wrong-doings. An understanding St. Angelo brings a quirky romantic angle to Owen’s dark torment. And the cause of much of the show’s distress is the mysteriously terrifying Lance Newton, ripped-for-your-pleasure."
Around The Town Chicago - Not Recommended
"...I found this production, directed by Richard Perez, not up to the standards that Urban heater Company has set in past productions and while they work hard, and are just getting used to the old Black Ensemble Theater, this would not be the show I would pick to be the first on this stage that was designed for specialty musicals. They had scenes in different areas that caused the audience to view the play as if at a tennis match and the darkness of the story was matched by the darkness of the production."
Chicago Theater Beat - Highly Recommended
"...It is perhaps the most theatrically truthful exploration of the seeds of violence and of women’s participation as both victims and perpetrators that I have seen. Whomever you take to this play – and you should take someone – you will have plenty to talk about when the lights go up."
