See it if you like good acting, monologues, skillful writing and stories about adultery, sex and work
Don't see it if enjoy dialog and character interaction and dislike a confusing plot due to the absence of an actor to play a critical character.
See it if intensely emotional drama about the meaning of honor, values, commitment, loyalty, relationships, suicide, and death enrich and provoke you
Don't see it if you cannot sit 90 minutes w/out interval with non-linear parallel plots merging only at end of play, or death/adultry/nukes unduly disturb
"An artfully rendered midlife crisis...The three actors really know how to make their monologues exciting and active...Director Tana Sirois stages the play with an appropriately frosty elegance...Self-centered and unlikable, our three characters nevertheless prove to be competent vessels for Barry's striking prose. It is entirely likely that some of the lines will haunt you long after the story has faded."
"Hamilton, Threadgold, and Sullivan, have at the script with considerable energy, but, under Sirois' direction, all three deliver relentlessly angst-filled performances that only accentuate the script's risible, all-purpose solemnity...No matter how much the dialogue labors, it never seems to connect with real life. With its tortured plot, it manages to be both sordid and high-toned at the same time. It's not an appealing combination.”
“The main problem with this production directed by Tana Sirois is a bothersome disconnect between the sophisticated, world-weary dialogue and the obvious youth of the three actors. They all seem at least ten years too young for their roles, let alone to be convincing members of the upper crust. Ms. Sirois can't make these youthful, but skilled and bold actors come across as anything but what they are, although some skillfully designed hairdos, a touch of grey…might have helped.”
"An effective and fun piece of theater storytelling...Though the trappings may feel pretentious to some and soap opera-y to others, the work finds a very fine balance of understated behavior and vivid descriptions, keeping the story in a genuine place, never bogging down the pacing...While the events of 'Tomorrow in the Battle' probably won't stick with you, and certainly won't surprise you, the production is strong enough to create drama."
“Kieron Barry’s three-character play is a series of monologues...Characters, even when in the same room, don’t interact; they face front and tell us what they said to each other and what happened then and how they felt about it...When an actor can only describe rather than interact or otherwise explore, it limits the emotional palette considerably...’Tomorrow in the Battle’ offers a rare instance of what might be a very interesting story told in a really uninteresting way."