[3] Kristin Tillotson of the Startribune writes: "Caryl Churchill's sound-bite exploration of the modern state of human connections and the ever-increasing onslaught of knowledge both useless and profound has something for everyone, especially those with short attention spans.
The show was directed by Wendy Knox and featured Patrick Bailey, Virginia Burke, Joy Dolo, Kirby Bennett, Katherine Ferrand, Tessa Flynn, Emily Grodzik, Brianne Hill, Leif Jurgensen, Taous Khazem, Sam Pearson, Elohim Pena and Carl Schoenborn.
The show was directed by Kip Williams and featured an ensemble cast of Ursula Yovich, Anita Hegh, Alison Whyte, Zahra Newman, Marco Chiappi, Glenn Hazeldine, Anthony Taufa, and Harry Greenwood.
[8] Michael Billington of The Guardian awarded the Royal Court Theatre performance four out of five stars and argued that the playwright "is saying that we have to be [the master of technology] rather than its slave and learn how to live with the cascade of fact and opinion.
"[9] Matthew Tucker of HuffPost UK wrote that the success of the performance is "only partly down to the succinct and thought-provoking script – director James Macdonald has taken a gift of a play, with dialogue that is open to huge interpretation, and has run with it."
The critic stated that while some may consider it a gimmick, "the form of the play speaks volumes about the fast turnover of modern life – our jobs, our homes, relationships, media – a pervading sense of impermanence many people feel.
"[10] Ben Brantley of The New York Times lauded Love and Information as a "thought-churning, deeply poignant new play", arguing, "As a whole, these parts compel us to think about the paradoxical variety and similarity in the ways we try to make sense of our universe and our place in it.
"[5] Slant's Jason Fitzgerald wrote that Macdonald "turns a play that’s intellectually interesting but potentially tedious into a funny, vivacious, and often tender cornucopia of human experience."
[11] Calling Churchill "not only one of the most radically inventive dramatists of the modern era but also one of the most trenchantly observant", Charles McNulty of Los Angeles Times said that "she appears to concur with her dramatic forebears from 21/2 millenniums ago that knowledge must be irradiated by emotion to become wisdom.
[12] Dmitry Samarov of Chicago Reader argued, "By employing a crazy-quilt approach to storytelling, Churchill ably evokes the mediated existence most of us are currently drowning in.
"[17] J. Kelly Nestruck of The Globe and Mail stated that the play leaves one with that "uneasy, queasy feeling that you get after spending a similar amount of time on Facebook or Twitter.
"[18] John Nathan of The Jewish Chronicle admitted to "a nagging doubt that it would not have made it to the stage if it had not been written by the Royal Court’s most revered living writer", and stated that "sometimes the message is buried in banal exchanges — so deeply it might as well not be there at all.
"[20] In The Telegraph, Charles Spencer dubbed Love and Information "the dramatic equivalent of going through countless emails, some interesting, some touching, some funny, some alarming, and many downright dull.