You Are Happy Reviews
Chicago Reader- Somewhat Recommended
"...Ashe and Aaron Sawyer's staging is minimalist, which makes the heightened parallel play between the ASL and the voiced speech (not to mention supertitles) serve as commentary on the delusions of equality in coupledom. Whose "voice" is really being heard as conflicts arise? Connelly brings a little-boy-lost quality to Jeremy, but that can't quite overcome (nor, I suspect, is it meant to) the character's essentially manipulative nature. The rise of incel culture makes that impossible to ignore. But the cast deliver solid committed performances, often with a deadpan demeanor that makes the story's dark absurdism even clammier."
Chicago Theatre Review- Highly Recommended
"...Rebecca Deraspe’s sparkling comedy about love among the Millennials is already an intelligent, spicy, sometimes bitter look at three individuals trying to find some meaning in their bland lives. Already an entertaining piece of theatre, through the creative interpretation and direction by Mary Kate Ashe and Aaron Sawyer this play achieves a new level of beauty. The performances by this multitalented, six-member cast, many of whom let their fingers do the talking, are engaging and near perfection. The combination of comedy and pathos in this bizarre play washes over each and every theatergoer and seeps into their hearts. After 90 minutes, audiences head back home entertained, enlightened and affected by this theatre company who dares to ask dangerous questions through their art."
Chicago Theater and Arts- Highly Recommended
"...If you agree that in an opera or ballet the storyline is incidental to the performance you will understand my reaction to “You Are Happy,” an interesting, innovative and thoroughly enjoyable production co-directed by Aaron Sawyer and Mary Kate Ashe at the Red Theater. It leaves you wanting more – but in a good way."
NewCity Chicago- Highly Recommended
"...Bridget’s plan works because Chloe and Jeremy are slaves to convention. Chloe starts off a half-hearted champion to singleton life but loses her commitment at the first mention of a bikini shave. Jeremy is more troubling, eager to play the romantic hero and just as eager to dominate a woman, any woman. But having the play played twice, with one person speaking while the other signs, makes the imagery of ventriloquist and puppet pop in this production in a way that highlights the message that romantic relationships are social manipulation. Bridget is the only character who both speaks and signs; even her voice is just an accessory. Turner tosses Weiner-Kaplow around accordingly. Disturbing."