Chicago Sun Times - Recommended
"...While crucial elements of the story might elude theatergoers with no knowledge of "Oedipus," the atmosphere and imagery have a power of their own. And when the blinded, exiled Oedipus speaks of the terrible inheritance of his two young daughters, who are embodied by little party dresses on hangers, the heartbreak is real."
Windy City Times - Recommended
"...To be sure, there are worthy moments. Oedipus' first scene, greeting his stricken people with tenderness rather than majesty, is unusual and effective. But there aren't enough such moments in this brief production, which is a series of beats lacking a seamless story; a collection of peaks that doesn't build character or tension. I don't understand the "why" of Oedipus as a stripped-down story in a pop style."
Chicago Free Press - Highly Recommended
"...Of course, a show where the audience members have to think on their feet and lose their seat won’t suit some people. (Sometimes, an actor will be pointing right at you as they barrel in your direction. Time to move!) But those who need a strict delineation between actors and audience wouldn’t embrace this postmodern “Oedipus” anyway. The rest of us can revel in The Hypocrites’ risk-taking achievement."
Centerstage - Recommended
"...Oddly, what really stands out is how fun this production of Oedipus is. Everything – the colorful scenery, the audience involvement, the almost comically dark songs (music by Kevin O'Donnell, lyrics by Graney) – adds up to one prolonged moment of agony. But afterward, when you recover, you are left with a sense of having been to Thebes, and having had a really awesome time there, in spite of what happened to that poor guy Oedipus."
Time Out Chicago - Recommended
"...Happily, parsing Graney’s impulses feels in this instance like a worthy exercise (though a passing familiarity with the source text is recommended, lest you feel excluded by so many in-jokes). He’s deeply indebted to a feverishly committed cast; Wilson as the headstrong motherlover of a king and the always-fascinating Stoltz and Kays in multiple roles turn in arrestingly athletic performances. Still, Graney needs to keep asking himself, “To what end?” The use of promenade here seems like a less-justified shadow of his electric staging of Edward II last fall. He’s in danger of the device becoming just another trick up his sleeve."
ChicagoCritic - Recommended
"...The young cast (Halena Kays, Stacy Stoltz and Steve Wilson) deliver credible, if at times uneven, performances and there is some great original music. Graney wrote the Goth-like lyrics for Kevin O’Donnell’s depressive dissonant score. Marilyn Manson gone crooner is the best description I can give you. It’s not pretty, but it is very good. And Courtney O’Neill’s set is a knockout."
Chicago Theater Beat - Highly Recommended
"...Steve Wilson brings realistic pathos to a man who will nobly prevail past the point where others would rationalize their ideals away. Such an uncompromising nature will lead him to be self-sacrificing. It will also lead him to commit torture. For all who care about the power of theater to reveal our political, psychological, and spiritual selves, hie thee to this show for shame. Or live thee in the shame of our nation’s present state without it."
