I Killed My Mother presented by Theatre Y at The Greenhouse Theater Center

Chicago Sun Times - Recommended

"...Numerous photo essays and documentaries have been made about the appalling conditions that existed in such institutions -- places where the bodies and souls of children were wantonly destroyed. But, as often is the case, theater can communicate the emotion and specificity of such situations with particular eloquence. And such is the case with Theatre Y's production -- now in its English language debut at the Greenhouse Theater."

Chicago Reader - Somewhat Recommended

"...The business of becoming an adult amidst brutality and meaninglessness is the principal subject of Andras Visky's fascinating two-hander, but the play's bleak landscape never overpowers the playwright's fundamental humanity. Karin Coonrod's gripping production for Theatre Y captures both the grimness and the pathos in the script, thanks in large part to Peter Kasander's no-man's-land set and a pair of beautifully tender performances from Melissa Hawkins and Andrew Livingston."

Time Out Chicago - Highly Recommended

"...Under Coonrod’s precise direction, they utterly physicalize their performances, delivering the immediate goods. Their flirtations with tricky diction and music likewise leave nothing to be desired. And despite the determinedly inward, abstract spiral of the script, its judicious forays into horrifying narrative curl out perfectly in their hands."

ChicagoCritic - Somewhat Recommended

"...All the manic movements and long poetic speeches eventually wore me out despite the show only playing for 75 minutes. Bernadette’s story needs to be told in more detail with less theatricality. The lack of clarity and the constant movements quickly became a distraction. The truthful performances almost saved the show."

Chicago Stage and Screen - Highly Recommended

"...Director Karin Coonrod uses an almost bare stage to tell this story, and with very moderate use of lights by Peter Ksander and simple costuming by Oana Boetz-Ban, she does so at a nice pace. There are very few dead spots and when one is dealing with an intense story that is very poetic in nature, slow spots can lose an audience. Not one person in the almost full house made a sound and their eyes were glued on our two actors from start to end. Visky has a wonderful way of using language. I won't reveal the result of the play or the mystery of the interpretation of the character of Clip as I feel that each patron will see it as they feel it and I believe that to be the intent of Visky. Coonrod follows the pattern to perfection. There was some delightful music to make this a true theatrical experience that brings cultures together."