At the opening, foggy stage lights lift over a bleak terrain, a dystopia of black-gravel ground littered with the detritus of postmodern life: a banged-up, rusting metal drum, a useless box of metal grating. To make matters worse -- exponentially worse -- a constant gray rain falls across this landscape, soaking everything unfortunate enough to be stuck here. [...] [Troy Schulze] uses Kirk Markley's astonishing set to create painterly images, standing or walking into places on the stage and creating visual shapes that often underscore Koltes's statement about the disaffected.
           -Lee Williams, Houston Press, June 2, 2005.