Los Angeles Times - Recommended

"...As soon as Gottesman speaks, though, you understand why she was cast; her Maite is charismatic, joyful, insane, a force of nature. Saracho’s boldest update is making the dynamic between Maite and Lopez overtly sexual. After their sadistic, heartbreaking love scene, hauntingly lit by Lonnie Rafael Alcaraz, I will never be able to look at Ranevskaya or Lopakhin again without blushing. This is Chekhov picante."
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LA Weekly - Not Recommended

"...It’s uncanny how uninspired directorial choices, unformed performances and artless production design can throw the unforgiving glare of the spotlight onto a text."
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Backstage - Recommended

"...Playwright Saracho’s decision to leave most of the men offstage works beautifully. In this matriarchal world, we can almost believe that drug kingpins and cartels don’t matter. Gottesman, who doesn’t look old enough to be anyone’s mother, is a whirling dervish of denial, and the new places Saracho goes with these characters and relationships are quite wonderful."
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Broadway World - Recommended

"...Now in a splendidly directed and acted production at the Fountain Theatre, this West Coast premiere sizzles with earthy passion and sensuality."
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Edge - Recommended

"...Director Laurie Woolery creates a deeply affecting universe that allows for the four talented actresses to bite into their roles."
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StageHappenings.com - Somewhat Recommended

"...In the case of El Nogalar the results are decidedly mixed."
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Examiner - Recommended

"...While the casting in this West Coast premiere of El Nogalar is a tiny bit curious – Yetta Gotttesman who plays the mother seems too darned young – the acting is terrific, with the stand-out performance on opening night being that of Sabina Zuniga Varela as Dunia."
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Culture Vulture - Somewhat Recommended

"...A case can be made for Woolery’s interpretation. Chekov, himself, originally saw “Cherry Orchard” as a comedy, too. But I believe the subtext is partially buried in the process. Issues like the brutality of the drug trade and the yawning gap between the classes are definitely present in “El Nogalar”; however, I believe they are partially eclipsed by heavy-handed direction."
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