"Incidentally, as the dialogue of 'Actually, We're F**ked' moves snappily by, there are a few other opportunities for humor within the script that fly right on by. That's less of a knock against director John Pasquin than a testament to playwright Matt Williams, who peppers his meditations on the world's problems with idiosyncratic fluff, cutting rhetoric, and some genuinely hilarious one-liners."
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"This is a nice safe play about the strivings and struggles of middle class couples, killer hummingbirds and secrets that will make you laugh, may bring a tear to your eye because of the humanity that we all face and finally, leave you with the notion that love is all we really have to see us through. It’s an easy play that won’t upset or challenge you too deeply, may reinforce your personal prejudices and leave you feeling good as you leave."
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"The playwright doesn’t explain in the program why he came up with such an adolescent title, nor why he swerves into an implausible, twisty plot that resembles a comedy in its complications but is only intermittently funny...The actors do what they can to make their characters credible, even likable...I won’t say the story is predictable — it’s too convoluted for that. But the couples are so mismatched that, at least in retrospect, they seemed heading for divorce from the get-go."
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"For seemingly no other reason than to push the millennial interest in current affairs and to honestly sell the audience on the fact that the play is, in fact, about millennials, the discussion burns through several controversial issues without pause. The plot points shape the characters and provide them with well-worn viewpoints, rather than fleshing out authentic, multidimensional people...The fragmented arguments make for an uncomfortable, drawn-out series of interactions."
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"A well acted, sictomesque enjoyable evening of light theatre...The cast is likable, with the audience rooting for the more emotional roles Rappaport and Lugo provide. Lee and Slyer also do a great job, but you just really don’t like them as people...The direction by Pasquin is first rate and you don’t even really feel like you have been there for 85 minutes. It is a quick romp...Williams' play is cute, naive and definitely entertaining."
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"Williams’s television roots show up in the way that his characters so quickly absorb earth-shattering situations in order to speed the evening along. But the comedy is mostly missing. This is partly the fault of the playwright for creating unlikable millennials who are full of angst, and partly the fault of director John Pasquin and his cast, who refuse to unearth the absurdity that Williams has seeded throughout his intermissionless production."
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“Directed by John Pasquin, the pace moves along, as secrets and indiscretions are revealed. Unfortunately, the characters lack depth, thus we aren’t overly drawn in emotionally, so little empathy is felt. The appealing actors deliver as best they can, with Lugo and Rappaport projecting the most relatability...Williams clearly knows his way around humor. There is enough offered up here, in between the barbs, making the show a mildly entertaining, 90 minutes of theatre.”
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“Williams’ play is an accessible but telegraphed affair. The playwright clearly has an agenda that he wants to cover, and he does so efficiently...but at a price. In order to set up diametrically opposing arguments, Williams has assembled four archetypical characters, who ultimately come across as two dimensional clichés...Nevertheless, the play’s individual scenes are snappily-written and exude an undeniable workmanlike quality that keep it all hanging together."
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