Keely and Du at Redtwist Theatre

Chicago Reader - Somewhat Recommended

"...This is a play designed to make you angry (though living under patriarchy generally takes care of that for a lot of us on a daily basis). Martin's script is particularly good at nailing how centering the possibility of redemption for men betrays the safety and autonomy of women. But eventually, the claustrophobic walls of Alyssa Mohn's grim basement set echo once too often with talking points that we've all heard many times before and that haven't moved anyone closer to changing their minds on this depressingly evergreen cultural conflict."

Around The Town Chicago - Highly Recommended

"...Over the years, attending plays at redtwist theatre has always been a solid experience. This is the true store front theater. It is in reality two stores on Bryn Mawr Avenue that have been converted into a theatrical space. One section of the stores is the lobby, dressing rooms, bathrooms and the other, the "stage" area. The seating changes with the production they are doing so there might be 40 plus seats or as many as 66, but you, the audience, will be as close to the action as they can place you. In fact, if you sit along the wall, you may feel the breath of an actor or two during some tense moments. Now, on to the wonderful production of "Keely and Du"!"

Picture This Post - Recommended

"...In this intimate space of approximately 40 seats, we are surrounded by the same warehouse walls (Set Design: Alyssa Mohn) as Keely and the other cast members, furthering the ominous feeling of incarceration Martin's play introduces. The lighting (Lighting Design: Cat Davis) is artificial, echoing both the artificial hospital as well as the artificial altruism the pro-life extremist group claims to represent."

NewCity Chicago - Highly Recommended

"...This play is a literal nightmare. In all the ways that "In The Canyon" was our worst case scenario for the future, "Keely and Du" is our worst case scenario for present day. I absolutely hate that men can freely laugh during this play. I hate that the women in the room stifled laughs and pained sounds. I hate that, when I looked around the audience, I saw men's eyes grew to the size of saucers when Walter or Keely's abuser Cole (Joe Edward Metcalfe) said something horrific (and utterly unsurprising). What I hated most of all was the shared glances with other women who knew exactly what abusive language looks like."