Jane Stein’s inventive set visualizes the encroaching outside conflict by employing miniature models of cityscapes that are consuming the family's home. Henry Akona’s original music is one of the production’s highlights, and Jenny Lee Mitchell’s clarinet playing is touching.
Suzy Evans
Backstage
A gorgeous earthen set by Jane Stein, with tiny houses that appear to grow out of the furniture like barnacles, highlights the play’s fascination with the ties among land, home and living. And Edward Einhorn’s brisk direction initially crackles with life and energy, overcoming some of the stilted language in Anthony Berris’s translation. Our empathy and identification with the Bergers — a typical family, with typical hungers and thirsts, squabbles and chores — intensifies our discomfort with their increasing radicalization.
Catherine Rampell
The New York Times