"Marting has created a unique visual and aural world. David Evans Morris's set festoons the stage with stained canvas sails hung from rough-hewn ropes, all fronted by a primitive throne. For the Queen's robe, costumer Nancy Brous invents a papier-mâché white gown that opens and closes like a door and becomes dress, house, and bed. Juliet Chia's exquisite lighting transforms sails into flames, somber shadows, and glowing romantic backdrops, while Lea Rekow's video images contribute grim autumnal tones. Todd Griffin's music swirls from lilting to sultry, but, mostly, the mood of music and light is minor key with a vengeance. Aside from the Grandmother (Ching Valdes-Aran), Erendira (Elisa Terrazas), and the boy Ulises (Janio Marrero), the other players are represented by Lake Simons's grotesque puppets, composed of stuffed heads, sticks, and branches and manipulated by two handlers. We see Erendira's deflowering in macabre silhouette, skeletal fingers clawing at the shape of a naked girl."

"In Kit Thacker’s generally lucid production, these questions excite and provoke as a sort of Axis-infused The Women unfolds on David Evans Morris’ striking wood-paneled sitting room set. Juliet Chia’s lighting helps Thacker’s work enormously as red and white lights shift subtly and ominously, indicating the script’s temporal transformations."