"With its current production of PRU PAYNE, the company has reached a flashpoint in its two-year experiment. Steven Drukman's scintillating new play, directed by Sean Daniels, is a huge payoff for the audacity to stake unfamiliar territory... Consider the production elements: James Fenton's scenic design features a spectral display of rectangular frames around and above the stage, their contours lit intermittently by the superbly talented Philip Rosenberg... An enormous black-and-white headshot of a tormented Prudence usurps the blank cyclorama, a fading visage behind the cold geometry of detached frames, portals to a once-lucid mind. Minimalism never felt so imposing." - BROADWAY WORLD by Robert Encila-Celdran

"The sparse set by James J. Fenton consists of a few chairs and a series of door frames, emblematic of the ins and outs the mind goes through as it slips away. There is a backdrop of an oversized portrait of Pru, which crumbles and rearranges as her mind becomes more splintered. - THE ARIZONA DAILY STAR by Kathleen Allen Special

"The actors’ work is buoyed by highly effective scenic and lighting choices from designers James J. Fenton and Philip S. Rosenberg, respectively. The enormous photograph on the backdrop shifts, deconstructs, and reconstructs over the course of the play, adding to the sense of loss, change, and uncertainty. The aforementioned flashing lights do similar work, jolting us from one moment to the next, startling us into empathy for the characters’ own confusion. Tina McCartney’s costume design silently builds out the characterization, including the slide over time from a put-together facade to something less concerned with appearances. The collective effect takes us on a two decades long journey in a swift 90 minutes. " - TAMING OF THE REVIEW by Betsy Labiner