A note in the program describes the show’s present-day location as “a dive bar at the end of the world.” Caleb Wertenbaker, the scenic designer, aptly furnishes a rundown saloon with whimsical bric-a-brac and peeling walls. Lounging upon a little bandstand, a couple musicians listlessly noodle a tune. Sitting among the scattered tables, half a dozen drinkers gaze into nothingness....Throughout the performance, everyday objects and extraneous bits of clothing are smartly used in the transformative process: the stringy head of a mop turns a busboy into an incestuous princess; plastic lobster bibs and badminton rackets deck out the neglectful rulers of a starving nation; sheets of aluminum foil transmogrify into armor.
-Michael Sommers, The New York Times

There’s something Herculean, too, about the efforts of director David Schweizer, songwriter Rinde Eckert and scenic designer Caleb Wertenbaker, who have taken on the monumental task of trying to breathe new life into one of Shakespeare’s least frequently performed plays in this production...
-Jay Lustig, NJ Arts