"Ravenhill's writing is tough, eloquent, sardonic, with some of the barbed formality of the Restoration style, which gets brutally peeled off in the present-day scenes. This is not a play you 'enjoy.' This is not a gay play either... The message of this play is not 'Come out,' but 'Come in.'"

 Sunday Times

"Mark Ravenhill clearly likes to have it both ways. In this wonderfully exuberant new musical play, he celebrates Sodom like there's no Gomorrah... Delicate souls may be offended but there is no doubting the sincerity of Ravenhill's assault on the transformation of sex into a dirty business."

 The Guardian

"A theatrical manifesto for sexual tolerance that teeters wildly between the politics of Bertolt Brecht and the in-your-face deviancy of a gay nightclub... Ravenhill combines graphic sex with a generosity of spirit."

 Daily Telegraph

"In this wonderfully exurberant new musical play at the Lyttelton, he celebrates Sodom like there's no Gamorrah. But the satirist in him also attacks the commodification of sex and the resultant loss of love. The result is an evening rich in rudery and ambivalence."

 The Guardian

"...there's something richly moving about witnessing the aesthetic coming-of-age of Shopping and Fucking scribe Ravenhill, whose newplay evinces less interest in shock value per se than in showing an unexpected tenderness toward characters who are themselves struggling toward love."

 Variety

"This play seems a little gentler and funnier than Ravenhill's previous work although his trademark buggery scene still makes an appearance. He treats his characters with more affection and, at times, the playis reminiscent of the work of Jonathan Harvey."

 British Theatre Guide