“...though ‘The Cottage’ operates like a farce it only rarely achieves a farce’s liftoff. That’s when the pressure on the characters becomes so intense that it initiates a kind of verbal and physical fission.”
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"While the architecture of the plot is solid, what really keeps 'The Cottage' up is the comedic industry of its cast. Directed by Jason Alexander, a seasoned hand at classic timing, the actors leap gamely into their funny business."
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“ ‘The Cottage’ is about Sylvia opening her eyes to her relationships with men. But the moment that sticks out is the hilarious sight of Sylvia plugging her nose with an old-timey phone receiver. Moments like that make ‘The Cottage’ a Broadway funhouse.”
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“There’s a fizz that bubbles up near the end of a door-slamming farce when the characters, one by one, have to explain to one another what’s actually going on...’The Cottage' tries to emphasize the fizz, but nobody remembered to shake the soda can beforehand. It’s full of explanations, light on mess.”
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"Given the year the play is set, these developments seem more a matter of pandering to contemporary ideas than anything else. But linear logic is not a hallmark of farce, good, bad or, as in this case, indifferent."
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“Just check with everyone in your group: Some will be tickled pink by ‘The Cottage’ and thrill to the très outré comic stylings...Others will be ready to head to the basement bar at intermission to nurse their headache and remain there...All that said, given the givens, I still had several good laughs.”
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“...this comedy of manners by the playwright Sandy Ruskin is so thoroughly old-fashioned that it may come as a surprise it’s not based — like so many Broadway outings lately are — on existing material. Which is not to say that any part of it feels original.”
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“The best thing about ‘The Cottage’ is the cottage, designed by someone with the name Paul Tate dePoo III. Everything else is more like the outhouse. Even as a lark, it’s beneath the standards of Broadway.”
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