[4] Jane Schilling from The Daily Telegraph also commended the play, writing that "the influence of Beckett is clearly visible in Butler’s new play, in which aimlessness is distilled with alchemical concentration into poetry", while praising the "director/designer team of Sacha Wares and Miriam Buether who bring to this bleak parable of alienation a staging of beautiful complexity.
"[5] Reviewing the play for The Financial Times, Sarah Hemming described the production as "Quiet, undemonstrative and compassionate, this is a devastating portrait of life for those young people at the bottom of the pile in contemporary Britain.
Leo Butler has written an immersive piece that can best be conveyed by asking readers to imagine that James Joyce's Ulysses has been updated to South London today in an effort to let them feel the city's heartbeat, a symbol that the soundscape hammers home throughout the 75-minute running time.
Though relentlessly visually stimulating, it also feel like an installation that mimics the enervating monotony of trying to occupy yourself on the streets all day.
"[10] The Economist also wrote that the production "aims for universals; it is a play about the Liam-types who haunt every city—the worldwide problem of the lost young man.
Mr Butler, with his gift both for language and loaded silences, gets as close as anyone has to the malaise and disenchantment of modern youth.