Chicago Tribune - Recommended
"...The show could lose 10 minutes, as most shows could. And there are times when Trieschmann needlessly inserts some subjects (Aristotle, dramatic theory) that a playwright might talk about, but not the women she here depicts. But I found that these characters, and these performances, have stuck with me, their stories carefully charted by actors who care and a sympathetic director, all adding up to a sultry (and frequently funny tale) of little feminist struggles in a town where the asphalt sticks to your toes."
Chicago Reader - Somewhat Recommended
"...While the stories gradually intertwine, the characters remain largely isolated from one another. It makes for an extended tableau full of humor, pathos, and self-recrimination, for the most part brought satisfyingly to life under Marti Lyons's gentle direction for Haven Theatre. But Trieschmann rarely ventures beyond well-worn southern gothic quirks-the crafty, drunk church janitor, the moon-eyed adolescent girl-withholding the telling details that might make everything feel less like dutiful fiction. More problematic, Trieschmann consistently writes down to her characters, something even this fine cast can't overcome."
Windy City Times - Recommended
"...A playwright who doesn't know when to stop writing is no disgrace. This being a world-premiere production, Trieschmann has opportunities to decide whether she wants her yarn to finish as a comedy or a tragedy. In the meantime, director Marti Lyons and the Haven Theatre company members ensure that we sympathize with these humble mortals struggling for a few moments of petty happiness. If their industry cannot wholly cushion the disappointment engendered by our author's ultimate betrayal of her characters, it's enough to stifle the snickers of city-bred playgoers pretending superiority to their country kin."
Time Out Chicago - Highly Recommended
"...The characters’ expressiveness does overreach a bit; Trieschmann sometimes has them sounding rather too literate for who they are. But it takes strong acting to pull off this structure of some dozen or so monologues, and these performers, especially the family trio, manage those moments—and everything else—superbly, mining for both pathos and comedy. Emily Woods’s Jenny captures the thrill and terror of being 15 and not easily introspective, while Julie Schroll’s Flora lets the wounded heart show through her careless strut and fed-up eye rolls. H.B. Ward as their father deftly reveals that Glenn’s simple heart is worn on his sleeve as clearly as it’s on the front of his work shirt. And together, these distinctive voices unify into a fairly compelling whole."
ChicagoCritic - Highly Recommended
"...Haven Theatre has followed up their successful production of Seminar with this wonderful dark comedy. I'm putting them on my list of worthy theatre companies and so should you. For an alternative to all the sweet holiday shows, try Hot Georgia Sunday."
The Fourth Walsh - Highly Recommended
"...Director Marti Lyons combines Trieschmann's narratives and a talented six-member ensemble to produce sharp imagery. The first act starts with the captivating Emily Woods (Jenny) describing her crush on a young boy in her youth group. Her account of his leg brushing up against hers at a restaurant is adorable and relatable. Throughout the show, the details relayed in Trieschmann's monologues are perfectly dramatized by this stellar cast. We become enthralled by the drama and humor of each situation. The colorful HB Ward (Glenn) unforgettably describes how to get out of paying a tow fee. Despite Ward's booze-soaked, sketchy tales, he is likable... even lovable. When Wood describes sitting next to Ward at church, we see him differently from her perspective. He isn't the rebel rouser. He's her patriarchal touchstone. It's the relational ties between characters that make us see beyond their flaws to their essences."
