“A dull polemic where a complex moral drama ought to be...The Syrian graffiti artist emerges as a fully human character with a compellingly unique story. Regrettably, Naylor never appears satisfied with that...The fact that her story is frequently interrupted by a tepid send-up of the Western media is even more frustrating, dividing our attention and diluting the power of the play...Actors compensate for the lack of fire in the script.”
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"Avital Lvova is singular in her ability to take the beautiful poetry of Naylor’s text and deliver it effortlessly...Lvova is athletic, gripping, and her performance is doubtlessly the highlight of the play...'Borders' is co-directed ingeniously by Michael Cabot and Louise Skaaning, who make great use of the barebones set to transport us from bus to basement to prison to art gallery to boat...We are ushered through Naylor’s text thanks to elegant transitions and brilliant performances."
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“A small, spare, sometimes poignant but not especially enlightening play that alternates monologues by two characters, a British photographer and a young Syrian woman...There is a deliberate discord between the largely comic tone of Sebastian’s anecdotes and the largely tragic tone in what Nameless says...At its best, the two performers...tell some vivid anecdotes...At its worst, the two characters too often speak in a pseudo-poetic diction.”
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"Written in breathless, staccato, pulp fiction-style sentences filled with vividly carved verbal images…For all the play's hearts-in-the-right-place depiction of Syrian suffering, it fails to go much beyond the depiction of the struggle of two artists to remain true to their convictions, with the Middle East crisis a conveniently dramatic background to their respective dilemmas…Which is not to deny its onstage dramatic power…'Borders' is knife sharp, bullet fast, and edgily funny."
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“Directed with lean briskness...We rarely see the moral courage we are encouraged to think lies within Simon that has become extinguished. The same quality in the nameless young woman is never in doubt...It is her character...that is the most resonant. Through her, rather than the comical Simon, Naylor’s message is simple, emphatic, and angry: These are people. These are people we have a responsibility to help. Yet do we recognize that? Do we do anything about it?"
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"Deftly interweaving these two monologues, Naylor asks pertinent questions about the power of art, the responsibility of the artist, and the integrity of a society that only cares about refugees when Angelina Jolie tells it to...Their slowly converging stories are both compelling and convincingly rooted in gritty geopolitics...At times, one wishes he would take more formal risks...This is a form that has limits. And 'Borders' – excellent though it is – doesn’t push them very far."
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"A two-hander, featuring a pair of characters in motion towards one another on both sides of the Mediterranean. Both are artists in their own way...Naylor's dialogue is crisp and evocative, and the non-existent set is so far stripped back that all the tools Cabot has to work with are his very talented actors, leading to a result which is pure and captivating. Even if moments occasionally swing close to cliché, Naylor’s name remains a mark of quality for those who like to see good political drama."
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"This play is divided into two perspectives...Conflict allows the playwright to editorialise, so to speak, on the state of modern media, on the loss of true news coverage and journalistic integrity to the endless, slavish reportage of celebrity gossip. It is another great cultural casualty of our times and Naylor nails it...The audience is wondering if and how these worlds may intersect. Well, intersect they do and it is a magnificent and spectacular climax."
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