“I sat in a theater at the Humana Festival last year, after the closing monologue of ONE FLEA SPARE, unable to move. Nothing had prepared me — not my admiration for her plays and for her beautiful, harsh, moving, brilliantly political poetry — for the experience of watching this play, which is in my opinion one of the finest works of dramatic literature written here or in England in the last two decades. Everyone who loves the theater should read this play. It has made me INTENSELY envious and very full of joy.”

“Naomi Wallace sharply tightens her focus in this latest, thrillingly original work, set for the most part in a virtually bare London room during the Great Plague.”

“Beautiful writing....a rare experience...a show you should see”

“Extraordinarily powerful, it is a privilege to attend such a theatrically excellent event.”

“THINGS OF DRY HOURS is a beautiful, brave and devastating play, a profound imaginative delving into radical resistance and hope rising at an impossible moment, in crushingly inhospitable circumstances. No one writes about politics, history and all that’s hidden underneath better than Naomi Wallace. Ferocious, tender, whimsical, tough, brutally direct, poetically elusive, her voice is utterly unique and essential. I’m grateful, as always, for her unsparing, painful, sexy stirring up of our human selves.”

“Unmissable … a truly American tragedy. Wallace’s devastating, moving play is entirely without extravagance and artifice and is completely grounded in the harshness of the real world.”

“Naomi Wallace’s short, painful prison drama uses the backdrop of racially segregated ’50s America to weave a tale of the hope that can blossom behind bars, and the despair that can destroy a life outside them.”

“… Naomi Wallace’s strikingly poetic Depression-era play … By the end, the play, like that train, has built up a full head of steam and we feel its power.”

“… TRESTLE is an often poignant, nonlinear-narrative coming-of-age story that’s set in 1936 in a ‘town outside a city, somewhere in the United States … TRESTLE is at once charming and haunting … you’ll view it with wonder along the way.”

“THE WAR BOYS, a vital three hander about the informal policing of the Mexican border in Texas by racially screwed-up, sadistic vigilantes.”

“… a violent and often beautifully written story about three young Texan men who have hired themselves out to catch ‘wetbacks’ …”

“IN THE HEART OF AMERICA is a pretty startling piece of writing. It has the driving political anger and entwining of the personal and political that marked some of the best British writing of the early seventies, the vigour and mystical overtones of raw Sam Shepard, and the grace and sensuality of a poet …”

“Naomi Wallace’s SLAUGHTER CITY... is a strange and compelling play that unties two elements in the American tradition — the radical and the mystic. If it reminds me of anyone it is the Walt Whitman who wrote of ‘the audacity of freedom’ and the need for America to free itself from the anti-democratic European past. On the radical level, the play is a passionate protest against exploitation ….”

“NO SUCH COLD THING unsettles the ground beneath our feet much as [Wallace’s] characters have found it vanishing beneath their own. The characters are pitched, dreamlike, somewhere between life and death as Wallace expertly pinpoints the reality of war in the magical-surreal of dramatic imagination.”

“In their existential disorientation, Wallace’s Middle East plays escape the logic, the prison and the sentimental clichés of a realistic and more sociable theatre, because their impatient narratives take shape only to disintegrate, their dramatic value heightened by the instability of the drama itself.”

“One of the more audacious jaw-droppers in recent memory … strange and surprising … This is a play sticky with bodily fluids. Carnality is at its core.”

“Wallace writes with a kind of ecstatic lyricism.”

“The breathtaking playwriting talents of Palestinian Abdelfattah Abusrour and American Lisa Schlesinger were brought together by Obie and MacArthur winner Naomi Wallace to collaborate on a piece that strikingly demonstrates the absurd of the real. Its dazzling irony at once delicious and devastating, this play will haunt in the way truth should: putting bang, bang in our sleep.”

“Wallace is one of the most subtle and politically engaged American playwrights of her generation”

“Real political theater as I understand it: challenging, disorienting, and thought provoking.”

“Extraordinarily powerful, it is a privilege to attend such a theatrically excellent event.”

“Wallace refuses to judge her characters, choosing instead to explore the possibility of humanity in the most inhumane conditions. THE FEVER CHART is the best theatrical production of the year.”