“Entering fully into the Cowardly spirit, director Terry McCabe frees his Hay Fever cast to emote, pose, posture, and indicate to their hearts’ content. The result is precisely what Coward envisioned when he subtitled the piece “a comedy of bad manners”: a perfectly-wrought piece of early 20th-century snobbish entertainment. Coward plays also pit Cool Kids breezily indifferent to convention against hapless Normies, and Hay Fever is no exception.… [McCabe] balances the sympathies expertly, so we’re simultaneously under the Cool Kids’ spell and rooting for the Normies to escape with what’s left of their dignity.”

- Kelly Kleiman, Chicago Reader

“McCabe, the longtime artistic director at City Lit, has cast the show well, with all nine of his choices hitting the dominant note of their role… The four visitors—Robert Hunter Bry as empty-headed boxer Sandy, Elizabeth Wigley as scheming socialite Myra, Melissa Brausch as the oddly shy flapper Jackie, and Gerrit Wilford as too-tactful diplomat Richard—are trying to obtain from the Blisses a touch of the excitement, glamour and culture missing from their own conventional lives. They’re slumming in Bohemia, seeking authenticity or at least a thrill.”

- Hugh Iglarsh , Newcity Stage

"The first thing you might see — at least according to Amelia Roper’s new play, “Zürich” — is a naked man jumping up and down on a bed. Things go from there: We meet all kinds of couplings and triplings, both professional and personal, encompassing everything from frolicking kids to a depressed senior to a melancholy one-night stand to a banker who may not be what he seems. Watching them all is the maid, a woman who speaks three languages, a linguistic trifecta still inadequate to express all her depth of feeling... Elizabeth Wigley is dead-on as the unnamed maid."

- Chris Jones, Chicago Tribune

"The first three vignettes of Zürich are darkly funny and fascinating... When Amelia Roper’s writing and Brad DeFabo Akin’s direction are good, they’re very, very good... The [ever-so-slightly creepy] mood carries over to the next vignette, as an American lawyer (Debo Balogun) struggles to confide in a cheerful, impassive hotel maid (Elizabeth Wigley, in the production’s strongest, most nuanced performance). As Zürich progresses, different characters show up in each other’s rooms, and the whole weirdness of a hotel environment comes into play."

-Lauren Emily Whalen, Chicago Theater Beat