There are very strong performances all round, particularly from [Brian] Ferguson, who brings a sweet pathos to his naive security man, and [Neil] McKinven, whose grubby and rapacious character is offset by sad, sexual frustration.
The List * * * *
[Writer/ Director Davey] Anderson, along with his company, has knitted together a complex web of everyday tragedy in which a construction company manager on the skids becomes complicit with a Polish cleaner in an attempt to supply illegal workers . . . the action culminates in a deadly statement on how capitalism corrupts and destructs . . . [and] taps into an unspoken collective need for human contact beyond economic exchange.
The Herald * * *
[There are] entertaining exchanges and sharp performances . . .
. . . As well as McKinven's company boss trying to wish away an £85,000 hole in his accounts, there's Agnieszka Bresler's Polish go-between, half-exploiter, half-exploited, and Brian Ferguson's nice-but-dull security guard. Owen Whitelaw's hyperactive tearaway gets caught up in the masochistic fantasies of a troubled police photographer, played by Molly Innes, while Gabriel Quigley as McKinven's wife tries to figure out who keeps hanging up on her.
They are intriguing characters, as are the latent themes about voyeurism, surveillance, shattered dreams and the black economy.
The Guardian * * *
A piece that deliberately leaves many questions unanswered . . . but it's the show's technical flair that and theatrical brio that linger in the mind.
Metro Scotland * * *
The show has its finer points, notably an eloquent, rangy, filmic staging across the whole breadth and depth of the Traverse 1 stage. It also has a fine, complex central character in the shape of a young Polish cleaner, Monika, played with real force by rising star Agnieszka Bresler.
The Scotsman * * *