Chicago Tribune - Somewhat Recommended
"...Fortunately, Rutherford has two ace performers on hand who elevate the show every step of the way. Sara Gorsky's Grusha shines with forthright gumption and palpable vulnerability, and her endearingly self-conscious cabaret-style delivery of a song in the first act makes one wish Rutherford had hewed a bit more closely to that intriguing aesthetic choice throughout. Cary Davenport's Lead Singer also delivers composer Matt Kahler's folk-inspired numbers with clarity and sardonic elan."
Chicago Reader - Somewhat Recommended
"...In any scene requiring more than three actors-and that's most of them-the jumbled tone flattens Brecht's social critique. Still, the smaller scenes in this Promethean Theatre Ensemble staging are crafty, insightful, and occasionally heartbreaking, thanks largely to Sara Gorsky's forthright performance as Grusha. Matt Kahler's folk-influenced score is bracing and effectively sung."
Centerstage - Somewhat Recommended
"... The original score, composed by Matt Kahler, is the show’s strongest element. Mixing traditional folk music with a more modern, emotional indie sound, Kahler’s score keeps the show from feeling like a museum piece. There is urgency there, a feeling of relevance that the rest of the show lacks. For how well crafted the set, the lights, the sound and the performances feel, the production never feels needed. It’s just there. And I guess, for this reviewer, that wasn’t quite good enough."
Time Out Chicago - Recommended
"...Teddy Lance as the rascally judge and Cary Davenport as the lead singer deliver standout performances. Though the play is meant to raise the question of motherhood—who, indeed, has the right to be a mother—this feels secondary to Brecht’s rendering of a frivolous society accustomed to wartime lies: “What does war have to do with us?” and “All we need is good weather” resonate as an all-too-familiar vapidity."
Chicago Theatre Addict - Recommended
"...Director Ed Rutherford puts the ensemble through its paces while keeping the storytelling clear and unencumbered, and Kahler’s music and music direction brings Brecht’s messages to life with haunting grit and pragmatism. While the singing ranges from precise to passable, the energy and passion resonates beyond any vocal limitations. And this is Brecht, not Les Miz."
ChicagoCritic - Somewhat Recommended
"... I admire much of the stagecraft but the play ultimately wore me out. Fans of Bertolt Brecht will enjoy this dense production. Actors and directors will appreciate and learn from this production. But I’m not sure that most theatre patrons will appreciate Brecht’s important play."
Let's Play at ChicagoNow - Highly Recommended
"...Kahler's work in the successful Hypocrites' Mikado is perfect for Brecht's intention and Ruthford's execution. Actors are also musicians. The guitar-strumming narrator, Cary Davenport, anchors this show with pitch-perfect singing and engaging storytelling. In the lead, Sara Gorsky (Grusha) enchants as the unexpected heroine. Gorsky's exasperation and comedic timing serves as an ongoing zing to the punchline. Another outstanding performance is Teddy Lance (Azdak) whose physical presence adds a slapstick element to his hilarious antics."
Chicago Theatre Review - Recommended
"... The play is as relevant today as when it was written in 1944. Keeping all the socially relevant aspects, but keep the action moving was a great move for director and company. This is the story of an abandoned child of the wealthy rulers who is raised by a servant on the run. Ultimately, through time and troubles, the now toddler is brought to the court to determine who’s child it REALLY is (or should be). Is it the one who bore the child, or the one who brought up the child? The results will “tug” at your heartstrings."
Chicago Theater Beat - Recommended
