"Director James Masciovecchio has picked the right set and setting to attempt that connection, though, tailoring his pleasantly starry scenescape to the friendly confines of downtown standby UNDER St. Mark’s. The actors’ staging is appropriate as well, with no props or discernable costumes to mask the vulnerability in which their characters are perpetually wreathed."

-Brett Aresco, Theasy.com

"The last production that was reviewed by Theasy emphasized the bleakness and despair of the characters. This latest production by Cave Theatre—despite having characters that attract tragedy—emphasizes the warmth and closeness running beneath the tragedy and gore that fills this work.

Many of the choices within this particular production serve to emphasize a feeling of warmth despite the drama and black humor running through this piece. Between scenes the characters undress and dress one another, applying make up as they state lovingly into one another’s eyes. (As the two strip down between costume changes they each have a [presumably] temporary tattoo in the same place of a ship’s wheel and an anchor, perhaps noting their relationship to one another.)"

-Adrienne Urbanski, Theasy.com

"What we have here is a masterfully crafted show called Divorce Party, something so wacky but so rooted in the inward and outward complexities of life (as are so many absurd things) that it encapsulates life as we acknowledge it to be, but are not always so eager or able to share with others.
Do you know when you're so overcome by surprise and being almost unknowingly uncomfortable that your face freezes, and only when you come to your senses do you realize you've been like that for a few seconds, anticipating the next wild thing someone does? That's how I felt watching this show. There's never a lack of the tension or surprise that makes this show keep that spark I love so much."

-Kristen Morale, BroadwayWorld.com

"Cave Theater’s staging turns Stoppard’s self-conscious theatricality on its head, because in this production, there is no stage; all the action takes place in the middle of a single room—no sets or props—with the audience seated around the performers. But the barge puts yet another twist on that, as the boat gently rocks as other ships sail past outside, and the creaking of the old wooden craft mixes in with the recorded sound effects. In a play where no one ever knows what’s truly real and what’s false, or even if they are alive or dead, these ambiguities are a very clever riff."

-Chris Farrell, Bklyner.com

"Cave Theatre Co. is giving a solid production of “Rosencrantz & Guildenstern are Dead,” the 1964 Tom Stoppard absurdist comedy whose characters, plot, and meaning are all wrapped up in its title.

The stage (and audience) float on a barge that’s lit by three parallel standing lamps that are flicked on and off in various waves to great effect, particularly at the end when the play’s more terrifying themes are focused.

Director James Masciovecchio did a fantastic job blocking characters to emphasize various aspects

-Matt Caprioli,  Red Hook Star Revue