"An Octoroon isn't just an alternative to the irony-free 'black American theater' of Lorraine Hansberry and August Wilson; it's part of it--and part of many other things, too, because Jacobs-Jenkins's surrealism grows out of naturalism, the strange circumstances that make us open our mouths, hoping to be heard, even as we forget to listen."--Hilton Als "New Yorker on An Octoroon"
"An Octoroon is a meta-dramatic meditation and deconstructive masterpiece... Jacobs-Jenkins writes brilliantly about race in America, and the cultural legacy employed in the service of tyranny since the earliest days of this nation."--Chris Jones "Chicago Tribune on An Octoroon"
"Appropriate feels entirely original and upsetting in new ways... It asks audiences to understand the hatred, the anger and the pathologies that evolved as a result of our racist past. Eventually the [family's] house buckles under the weight of those emotions, underscoring the metaphor. The effect is visceral, reverberating for days afterward."--Joanne Ostrow "Denver Post on Appropriate"
"Appropriate is a highly charged and ambitiously sprawling drama... The author finds opportunities to startle us just as we're settling back to enjoy the familiar spectacle of flamboyant family dysfunction... There's no denying that Jacobs-Jenkins is one of the rising stars in the American theater."--Charles McNulty "LA Times on Appropriate"
"A coruscating comedy of resolved history... Strange as it seems, a work based on a terminally dated play from more than 150 years ago may turn out to be this decade's most eloquent theatrical statement on race in America today."--Ben Brantley "New York Times on An Octoroon"
"A very fine, subversively original new play... Appropriate is, at heart, a ghost story, in the most profound sense."--Ben Brantley "New York Times on Appropriate"
"A work that is infinitely playful and deeply serious and which dazzlingly questions the nature of theatrical illusion." --Michael Billington "Guardian on An Octoroon"