“The monologue is delivered well...the circumstances that make it one are notably contrived...It does provide Pressley a rich opportunity to explore a complex, loquacious, if emotionally stifled, character...Hutchinson has hobbled herself by choosing a structure that starves 'Proof of Love' of live conflict...Carroll has done what she can to shape the script’s graceful paragraphs into a simulation of action. But her effort is undermined just before the end of the 75-minute play."
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“The first new play commissioned by Audible...Brimming with intrigue and insight, it's an auspicious start...Carroll complements Hutchinson's script with high production values...’Proof of Love’ is one of the more realistic portrayals of infidelity I've seen onstage, and its observations on love and marriage are spot-on...A thrilling dramatic experiment that invites audiences into the theater, but also invites them to enjoy plays on their morning commute.”
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"As specified in the script, Constance is 'not a sentimental person, and is soooo not practiced in emoting,' so Pressley rarely varies from a rather clinical, conversational tone. We can certainly sympathize with Constance for being the victim of infidelity but this white reviewer will leave it to others to consider if her attitude is unsympathetically elitist or a defensive armor against those who would call her 'a sell-out who's ashamed to be black.'"
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“It's a rich subject, and Hutchinson, as always, has a knack for zinger-filled dialogue. Pressley is a formidable presence...Whatever else you want to say about ‘Proof of Love’, it is never dull. Nor is it totally satisfying...The problems that comprise the subject matter of ‘Proof of Love’ are real; the format for discussing them too often feels forced...Constance (and the actress who plays her) is rather more engaging than the contrived and oddly unfinished play in which she appears.”
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“Already contrived, especially within the expository limitations of a 75-minute monologue rendered in real time, the soapy story turns preposterous as Constance, assuming the guise of Maurice à la Cyrano, starts rapidly thumbing out text message exchanges with her unsuspecting rival...What keeps ‘Proof of Love’ from drifting into ridiculousness is the double anchor of the character that the playwright creates as augmented by Pressley’s tautly-controlled performance.”
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"Never really losing her cool, Pressley always commands the stage even though scenic designer Distler has made it difficult by creating a huge private room...difficult for one person to fill the space. Yes, Maurice is presumed to be in his hospital bed on stage right, and Lashonda is on the smartphone, but Pressley must negotiate the entire stage herself. Director Jade King Carroll has found reasons for her to move around...but has not helped much in making the play build an arc."
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"But Hutchison has a larger, more intriguing point: Is the affair, in some way, Constance's fault? Mind you, we never find out if their sex life has completely diminished or if they bicker and squabble on a daily basis. Indeed, if we believe Constance, their union is happy, or at least comfortable. But there's another even more insidious reason Constance has her doubts about Maurice's willingness to stay."
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“Well, this show may be many things, but ‘Proof of Love’ it surely is not. To be completely honest, I cannot tell where the problem rests - there is plenty of problem to spread around...Pressley plays pretty much one note - a sort of maudlin condition - for most of the 70 minutes she is with us. So consistent is her tone that this must have been the wish of...Hutchinson, as well as...Carroll...The result is that the pace and tone are like the blips on a hospital monitor. Repetitive and monotonous.”
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