“ Babel is an empathetic, theatrical story that imagines the future of fetal genetic testing. The play creates an unsettling and powerful juxtaposition between the high stakes of a pregnancy and the absurdity of a pot-smoking stork mascot. Goldfinger’s voice has a specific compelling rhythm that plays with the unspoken and has a way of making the political feel deeply personal. The play has three juicy roles for women, and-- even though the play is set in the future-- it feels frighteningly relevant to the present.
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“ BABEL is wildly innovative and frighteningly powerful; it raises a metric ton of difficult questions that spiral into ever more difficult questions. Jacqueline Goldfinger is precise with her sharp, fascinating, and wickedly intelligent dialogue to a point that the story cuts even in places where we think it is softer. #PlaywrightPlug ”

“ As disturbing as it is timely, BABEL raises hard questions – which spin out into other hard questions – about genetics and science and power and privilege. Darkly comic and dappled with poignance, Goldfinger’s high-speed play feels like a cautionary tale – haunting, fascinating, and vital. ”

“ Jacqueline’s plays unfailingly present beguiling and utterly original worlds, voices, and characters; in her capable hands, the familiar is made unfamiliar and vice-versa. So it is with BABEL, an alternately harrowing and comic piece that examines a world in which 'progress' has ushered in a new era of eugenics. Like the figurative frog in the boiling pot of water, Jacqueline turns up the temperature on her characters – and audiences – gradually, creating a dystopian future that feels just around the corner, but one that also beautifully illustrates the capacity for compassion in an uncompassionate world. ”