"Infectious laughter ripples throughout the first act,as we watch in amused frustration as a potential evening of pleasure devolves into a three­way of a different kind: mutual exposure of everyone’s hangups...In the end, despite fully realized and engaging performances, Mr. El Guindi cannot quite reconcile the play’s disparate impulses. Half racy comedy, half serious­minded examination of women’s mistreatment in maledominated societies, 'Threesome' feels like a play whose parts — forgive me — don’t quite fit together comfortably."
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"Exposing skin is one thing. And there’s plenty of full-frontal nudity — his and hers — in the play 'Threesome.' But the takeaway of this hard-working but unconvincing comedy-drama is the reminder of how difficult it is to reveal something of authentic dramatic resonance. Too little rings true...the cast is capable and committed. Even so, between clunky dialogue and heavy-handed turns there’s little satisfaction from this wobbly 'Threesome.'"
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"'Threesome' grafts a sex comedy onto an overwrought melodrama...Under Coleman's direction, the clearly skilled cast struggles to make something convincing of this ungainly script...Its main achievement is the number of hot-button issues it manages to present in the most exploitative way possible...'Threesome' is an elaborate theoretic framework without any real people to inhabit it. "
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"There’s a hefty amount of bravery behind El Guindi’s play. The topical territory of gender, sexism, and identity within Islam makes for an important play worth taking note. Director Chris Coleman finds the delicate balance in the expectations of the play’s sex comedy beginnings and its intentional subversion by the second."
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"Director Chris Coleman did what he could with the production, but what it needed most was editing. A play not about sexuality, but rather about good intentions gone bad, 'Threesome' is a series of missed opportunities, the most significant being a compelling play about modern sexuality."
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"Why these two are together never seems to make sense, and if the playwright is suggesting that they are a couple only because they share similar cultural backgrounds, perhaps the play would’ve benefitted from delving into that, instead of trying to make eloquent points about every single topic it touches. Unsurprisingly the play’s major issue is precisely that of Leila and Rashid’s relationship, instead of opening up so much, they should’ve dealt with the more immediate issues."
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"Under Chris Coleman’s exacting direction, this ensemble cast brilliantly showcases Mr. Guindi’s dense text, exposing its layers and its challenging deep questions about the relationship between men and women, the exploitation of women, how sexual violence affects women, and how issues of race and culture interact."
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"Mr. El Guindi’s dialogue is often interesting, but there’s too much of it, and the second act’s droning tends to drown the drama out. Few have the talent of George Bernard Shaw to make discussion drama continually compelling. Chris Coleman crisply repeats the assignment here, and each of the actors offers a sharply etched portrayal."
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