"That’s the real drama here: Louis’s struggle to rationalize, within his politics, the irrational desire to forgive. Still, 'Who Killed My Father' is a strange way to do it, especially if you know (as neither the book nor the play tells you) that his father, despite the title, is alive. Just not onstage."
Read more

"Reading happens in the perpetual present, so in the book version, many of these same statements feel fresh, captured by a mind still roiling with grief and anger. A reader’s inner voice also transmits Louis’s own anguish better than he can do as a performer. He is not an actor, so he has few tools to either access or imitate his emotion in performance; repeating these thoughts again and again has made them sound stale, false, forced."
Read more

Louis makes a persuasive case that his father's coldness, especially regarding his gay son, was a symptom of something deeper and more pervasive, a poverty of the soul and pocketbook alike…Louis is urging us to imagine the world differently. As he conclusively demonstrates, the world we have is running desperately short on love.
Read more

"Put succinctly, much of 'Who Killed My Father' is an ardent discourse on father-son relations, in particular when what constitutes masculinity is a dominant theme. More to the point, it’s an open display of his accepting himself for who he is and whom he wants to remain."
Read more

"The title is revealed not as a question, but as the heading of a list: Who Killed My Father. Here, Ostermeier and Louis unite in their political fury and use their art to highlight the injustices perpetrated by that cohort. The lull of the play’s first hour was merely a very long wick and they finally light a match."
Read more