The Fever Chart: Four Visions of the Middle East presented by Eclipse Theatre Company at The Greenhouse Theater Center

Chicago Reader - Somewhat Recommended

"...Disregarding plot and going off on tangents, she spends too much time in the ether when the drama is on the ground. Steven Fedoruk and Sarah Moeller's Eclipse Theatre staging pulls some action out of the disjointed script, which is better read than performed."

Time Out Chicago - Highly Recommended

"... The actors are uniformly strong; Edgar Sanchez is particularly impressive in “The Retreating World,” as an Iraqi bird collector forced to serve in Saddam’s army. Steven Fedoruk and Sarah Moeller’s direction highlights the surreality of each piece. Shadow and light, emptiness and layers enhance an overall sense that, while these are very specific versions of hell, we could be anywhere. Not unlike the late visions of Beckett or Caryl Churchill, Fever Chart is allegory in real time, an apocalyptic vision of an all too true 21st-century horror."

ChicagoCritic - Highly Recommended

"...This is thought-provoking and affecting theatre that is worthy of viewing, irrespective of which side of the argument youmay fall on –the it the argument of the Israel-Palestine issue, or the issue of the wars this country continues to wage in Iraq and Afghanistan. The pieces presented view these places unsympathetically, and yet all-too-humanly. And Eclipse delivers devastating blows, because they realize the potential vitality within the words written. They seek to bring the best from these pieces, and come close to achieving that. All of the actors are more than worthy; the sets are utter simplicity but all that is needed; the costumes also straightforward but effective; the lighting attempting to work with material that is not necessarily prone to complex design –and doing it well. I cannot think of a good reason to avoid this production."

Chicago Stage and Screen - Recommended

"...This, the cleanest and most concentrated of Wallace’s dramatic interventions in real-life nightmares, shows, as did Eclipse’s earlier mountings of “A Flea Spare” and “The Trestle at Pope Lick Creek,” how well Wallace captures inchoate despair in telling details. The images she creates, which sometimes misfire from sheer profusion, nonetheless conjure an audience’s imagination long after the arguments have faded away."

Chicago Theater Beat - Highly Recommended

"... Sympathy for the underdog, compassion for the downtrodden—these are not sentimental indulgences with Wallace. Like the factory workers in “Slaughter City,” these Mideast survivors and ghosts, London prisoners, and Ozark drifters are both the stuff of dreams and indictments of our once and future inequities."