Chicago Tribune - Recommended
"...I wouldn't claim that director James Yost's production ranges as it deep as it might, but that's par for the Albee course. And the opening scene between Martin and his best pal Ross (Armando Reyes) is stilted and underpaced. But once the action fires up, and Elyce gets going, you see how well this play works in the living room-sized quarters on Ridge Avenue. Jansson is very credible - and Liddell is, in the right moments, the perfect blend of judgment and pain. But it's Elyce who offers a take unlike anything I've seen before in goat land: this is by far the hardest role in the play and Elyce's Stevie, you immediately intuit, has a lot of flayed marital skin in the game. If you've never seen this play before, and you're courageous, you won't regret your experience."
Chicago Reader - Somewhat Recommended
"...No, Martin is an irredeemable jerk because he insists everyone-including his wife, Stevie, who spends most of the play tearing herself to shreds over her husband's secret-must "understand." But infidelity is infidelity, goat or no. What's he expecting? Tom Jansson's choice to play Martin as an unflappable nebbish, largely indifferent to the pain he's inflicted or the vow he's broken, makes this Interrobang revival particularly difficult to swallow."
Windy City Times - Recommended
"...No theater company could be faulted for stumbling occasionally in the course of navigating Albee's slippery thesis and extravagant stage business—did I mention the classical and contemporary textual references, the trash-the-stage tantrums and the entrance of an actual barnyard you-know-what?—but the heroic efforts of director James Yost and the company assembled for this Interrobang Theater Project production render its 90 minutes in Rivendell's Edgewater storefront a provocative and surprisingly funny symposium on the evolution of our cultural policies."
Chicago Theatre Review - Recommended
"...This strangely fascinating look illustrates how Absurdist Theatre becomes an unconventional examination of the modern society. Albee's dramatic experimentations, in particular, look at growing older, sexual relationships and the mythology behind marriage. All of these elements rile and rage in this play, one of the playwright's final dramas. While this adult play may not be for everyone's taste, Interrobang's new production, which is both raw and relevant, makes Edward Albee's work about taboos, unspoken desires and what's normal feel as contemporary as today's news."
Third Coast Review - Recommended
"...Interrobang Theatre Project gives Albee’s play a solid, absorbing production with excellent direction by James Yost. The 90-minute four-character play sometimes proceeds at a high-pitched volume, which becomes necessary as the story unfolds."
The Hawk Chicago - Somewhat Recommended
"...Interrobang’s production is, overall, one worth seeing, specifically for those unfamiliar with the play. But it doesn’t quite capture the wit, the humor, and ultimately, the tragedy, that The Goat, or Who is Sylvia? demands."
Chicago On Stage - Recommended
"...Edward Albee, throughout his career, has had no difficulty pushing limits. His absurdist plays often ask us to re-evaluate how we see ourselves and our actions. But there has been no single play of his that does this to a greater extent than his 2002 Tony Award-winning The Goat, or Who Is Sylvia? In a compact, ninety-minute drama, Albee once again strips the human condition bare and invites us to examine the limits of our acceptance. Interrobang Theatre’s new production of the play shows Albee’s predilection for setting our world on its end, leaving theatre-goers with potentially troubling new information about themselves."
Picture This Post - Recommended
"...It is clear to this reviewer that the minds behind this production have crafted something with care and intelligence. The conversations with friends after the play are reason alone to add this to your weekend."
NewCity Chicago - Somewhat Recommended
"...Elyce is well equipped for this battle with moral ambiguity. She toes the line between devastated wife and caring mother heartbreakingly well. Like Greek heroines before her, she takes charge of the situation in the only way she sees fit. When it premiered in 2002, "The Goat" hit audiences over the head. Had Albee gone too far? Is there any way for the family to come back from this? Where is the moral line?"
