“Wendy MacLeod's world premiere Women in Jeopardy! could be titled Audience in Stitches. It's one of the funniest nights of theatre I can recall at Geva.” --Rochester Democrat and Chronicle

Women in Jeopardy! is a damn winner. The audience roared -- big time. If you look behind the laughs, though, there is a conversation MacLeod is looking to have about the tropes and stereotypes of women-centric casts. But she leaves the work up to us… Women in Jeopardy! inspires conversation through its laughter. At its heart, Women in Jeopardy! is comedy gold. It borrows little bits from everything that's come before it, but the result is refreshing and original, and somehow, the laughter comes easy.” --Rochester City Paper

Women in Jeopardy!, the roaringly funny play by Wendy MacLeod (of The House of Yes fame)…(is) a hilarious script packed with uproarious zingers.” --The San Jose Mercury News

“...The laughs in Wendy MacLeod’s play come fast and furious. With Women in Jeopardy!, this venerable theater offers a new work that’s modern, lively, and loads of fun.” --The Boston Globe


"Embedded within the witty and often very funny dialogue is a sometimes uneasy treatise on the complications of marriage, family and domestic bliss. It is to MacLeod's credit that she handles these situations with a genuine fondness for her wacky characters, treating them with a kind understanding. The result is a charming, eccentric comedy." --The Chicago Sun-Times ("Highly recommended")

"MacLeod's writing displays a remarkable tenderness for the unhappiness of the latter-day, hinterland male..." --Chris Jones, The Chicago Tribune

"A witty and humane comedy of married life..." --Richard Christiansen, The Chicago Tribune


"Even Martha Stewart might struggle to find that just-right hostess gift for the Pascals, that tragically, hilariously demented clan in "The House of Yes." Wendy MacLeod's black comedy, now on view in a seductive production from Washington Shakespeare Company. Although devoid of common sense and social skills, the Pascals abound in dry wit, and zingers fly as MacLeod metes out her sensational revelations. But it's by virtue of the script, and of director Colin Hovde's artful production, that "The House of Yes" (which was adapted into a 1997 film with Parker Posey) is more than a fast-bantering penny dreadful: It's a wrenching study of love and of the gravitational pull of kinship." --By Celia Wren, The Washington Post,
Saturday, December 15, 2007

"...A fascinating blend of frivolous family politics and menacing political allegory....It is wickedly funny, disturbing and vividly written....MacLeod writes funny, frightening dialogue, and she touches the nerve of our cozy, vicarious involvement with acts of public violence" --San Francisco Chronicle

"Gripping, funny and worth its reputation." --Time Out, London

"MacLeod gets us there with a fertile and original screwball voice that puts her in a league with such erudite young satirists of America's privileged class as Nicky Silver and Richard Greenberg." --Newsday


"With the possible exception of politicians, college students are the most self-regarding creatures on earth. Wendy MacLeod nails that narcissism with a wry vengeance in this comic drama about two smart-ass seniors, stuck in the dorm on a Friday night writing term papers, who decide to alleviate their boredom by coaxing the virtuous coed next door into a friendly game of group sex. Cleverly written, shrewdly directed and smartly cast, the show is less brittle than it sounds, especially once the kids drop their ironic detachment and reveal the quivering anxiety behind their cooler-than-cool facade." --Variety

"Its swift reversals...keep the characters from becoming...cliches. It's the playwright's way with language that does the trick, her understanding of the versatile uses these sharp kids find for the idiomatic speech of their generation. Speaking in the intricate dialectics of "cool," they brandish their brainy, irony-laced wit as both weapon of war and shield of defense." --Variety


"A merry comedy about a young woman resisting the advance toward middle age." --Variety


"Playwright Wendy MacLeod's bitter black comedy is...sick. It's perverse. It's irreverent. And it's hilarious." --The Washington Post

"Only a writer with MacLeod's dexterity could get away with skewering our culture's body image obsession by way of mocking high school girls with eating disorders..." --Metro Weekly Stage


"This evocative work...speaks with clarity and humor about young women embracing adolescence with all the mixed emotions of their age." --The New York Times


"An edgy, witty new comedy...scene after scene of biting humor and sharp insight." --Chicago Tribune

"When a San Francisco earthquake sets off a chain of tragedies in the life of a young helicopter traffic reporter, she is forced to come down from the heights and walk among her sinful brethren. Wendy MacLeod's comedy, a series of vivid, well-acted confrontations, draws on Everyman but reminds us that our in ability to resist the seven deadlies is what makes us human." --The New Yorker

"Although subtitled "A Contemporary Morality Play," there's nothing preachy about Sin. On the contrary, MacLeod is a witty writer who seldom misses an opportunity for a good laugh...But MacLeod is not merely after laughs. She blends humor with pathos..." --The Daily Herald, Chicago

"As an example of health in the American theater...this original work could properly be named 'Virtue.'" --The Wall Street Journal


"You worry about these guys, Jack and Bill. You want to clink bottles of beer together with them. It doesn't get much better than that in comedy or drama." --Steve Parks, NEWSDAY, May 30, 2007

"Wendy MacLeod's study of male bonding in the finest sense, is a warm and comic and eventually touching ride on the journey of internal discovery of two apparently disparate men, thrown together by circumstance. I urge you to see Things Being What They Are. It's theater the way it should be, and one of the reasons this hardy art form will never be extinguished." --Lee Davis, The Southampton Press, May 31, 2007

"Despite (or maybe it's because of) its origin in a female mind, this funny, charming, and rather moving little sleeper of a play from Wendy MacLeod probes the vulnerabilities of heterosexual, middle-class, decaying maleness with...good humor, affection and incisive accuracy." --The Chicago Tribune

"MacLeod's script is by turns acid and tender, and funny in a way that...proceeds powerfully from character and context." --Chicago Reader

"This funny and bittersweet play is the sleeper production of the season...this show sparkles with an emotional poignancy that makes for a very moving and heartfelt gem of a show." --Daily Southtown, Chicago


"The Water Children...is simply the most intelligent and entertaining play of the season...A work tackling the ticklish issue of abortion as viewed by assorted pro-choicers, pro-lifers, and hetero- and homosexuals holds genuine promise along with a plethora of pitfalls. It is to Miss MacLeod's considerable credit that she fulfills most of the former while sidestepping most of the latter. Her seriocomic piece is as gripping as it is amusing, and best of all, abundantly stimulates thought." --John Simon, New York Magazine

"With its mixture of romance, humor and sadness as it addresses the issue of abortion, The Water Children...is a fascinating play." --The New York Times

"The Water Children...examines controversial issues with wit and candor, taking some wildly imaginative excursions." --Variety

"...in The Water Children...the writing is even handed, cogent, and captivating; an articulate debate touched with...passion and astringent comedy." --The Village Voice