“ There's a lot of pieces which offer the "true story" behind some nursery rhyme or other; what's remarkable, and delightful, about Probst's piece is the sheer amount of ground it covers, and the many variations she's able to achieve on the premise. Gender roles, fear of failure, personal destiny and hydrogeology - Probst addresses all of these as easily and gently as...well, as a nursery rhyme. Enjoy! ”

“ An astonishing, poetic meditation on living with grief. Hunter is compassionate but absolutely uncompromising, and she pushes this piece into unsettling, gobsmacking insights: the ways that loss can render us unrecognizable to ourselves and our loved ones, the horrifying likelihood that hurt of this magnitude is liable to become our new normal - if that wasn't the things have always been already. Magnificent work. ”

“ Interlocking seamlessly with its source play, this companion piece to/feminist interrogation of MUCH ADO ABOUT NOTHING is that rarest of things - Shakespearean criticism that's rooted in genuine love of the Bard and appreciation for how his plays actually work. Cross gets everything right - the niceties of when characters speak verse and when they speak prose, the sly improvisations around the metrical pulse, the implacable logic behind the malaproprisms - and her tale of Hero getting herself out of the plight the Bard put her in is a gorgeous, heartfelt complement to the original. ”

“ Every obscene tragedy we hear about - and we hear about so terribly many - befalls ordinary people doing ordinary things, trying - like the sweet and marvelously realized couple at the center of PREWRITTEN - to eke out a bit of love as they live their lives before their lives are interrupted. That's the truth at the heart of Moughon's ghost story, in which our real world is the horror and the ghost is the love we cling to in the face of it. Beautifully done. ”