by Joshua Harmon
★★★ Edgy and timely. Wechsler's production at Theater Wit is fast-paced, provocative and, crucially, acted throughout with the right combination of intellectual smugness, personal vulnerability and familial love.
— Chris Jones, Chicago Tribune
HIGHLY RECOMMENDED! Entirely prescient. The play asks keen, complicated questions about white privilege, racism, and how we should now be deciding who gets a seat at the table. Masterful, emotional work. Hilarious and discomfiting.
— Rachel Weinberg, Broadway World Chicago
Admissions is a blistering, disturbingly apt critique of how white supremacist ideas blight the white liberal elite.
— Irene Hsiao, Chicago Reader
★★★½ A terrific production. Harmon is a master of writing high intensity scenes, with characters lashing out at each other in ferocious volleys of verbiage. Director Jeremy Wechsler is perfectly attuned to Harmon’s dramatic sensibilities. Explores hugely relevant social issues, leaving the audience both unsettled and stimulated.
— Dan Zeff, CLTR
“HIGHLY RECOMMENDED. A provocative, funny, whip-smart play, making us simultaneously laugh and cringe. Admissions trades on the notion of white privilege and asks what the limits are for how parents help their children in matters like this. Ultimately, we are asked to examine our own truths on this issue, and if it hits a bit too close to home, so be it: that is clearly what Harmon and Wechsler are going for.”
— Karen Topham, Chicago on Stage
A stirring Theater Wit staging by Jeremy Wechsler, remains topical, thanks to its sardonic take on liberal guilt over affirmative action and its exposure of double standards for entitlement and merit. We end up with a play that doesn’t choose sides but forces an audience to. That’s no small feat.
— Lawrence Bommer, Stage and Cinema
Jeremy Wechsler’s production is every bit as powerful as any of Theater Wit’s other terrific productions. Laced with laughter, this play is very moving, yet quite uncomfortable to watch at times. It’s a shout that needs to be heard today.
— Colin Douglas, Chicago Theatre Review