"We're being treated to the first stage adaptation of Hanif Kureishi's autobiographical novella Intimacy, about a man agonising over leaving his wife and two sons. Guy Masterson's account is far more faithful to the original than the recent screen version... Riz Meedin is all frowning concern as the unfaithful Jay, while Mandy Gordon impresses as both the object of his cruelty and the lover of whom he throws everything away for." (Dominic Cavendish - The Telegraph, 12/08/02)

"Riz Meedin's rapport with his cast members is energised and surprisingly lucid. Mandy Gordon impressively doubles up as wife Susan and mistress Nina... This stage translation doesn't disappoint... Mr Kureishi should be proud." (Anna Millar -The List, 15/08/02)

"Heavy matters discussed in an intelligent and accessible production of Hanif Kureishi's novel... Fine acting and sensitive direction in abundance... Takes procrastination and self-inflicted agony to a fine art... Masterson's adaptation captures the essence of Jay's conflicted and ultimately selfish character with the minimum of fuss... Mandy Gordon switches effortlessly between middle-aged mother and seductive siren, the majority of the time right in front of the audience, using just her face, body and voice... Intimacy highlights the feelings and questions we'd rather not think about and don't admit to." (Erin McElhinney - Edinburgh Evening News, 15/08/02)

"This single narrative perspective has interesting implications for the audience... .Intimacy- an act of explicit confession- upholds the notion that most women would be appalled if they ever knew exactly what men were thinking... Every thought, however ugly, is eloquently made and recognisably true, only makes this oddly detached play all the more compelling... You watch this play with the same fascinated horror you would a car crash in slow motion, except worse, since in this instance the man at the wheel is willing on the carnage." (Claire Allfree - Metro, 16/08/02)

"Never afraid to seesaw between the perception of him as trapped suburbanite or heartless bastard... A gently reflective play that manages to touch all bases in it approach to the subject." (James Lyon - Fest Magazine, 21/08/02)

"Played deliciously... This is a play for anyone who has been involved in serious commitment with someone. Seldom a word is wasted in the script with its complex, realistic characterisation and broad themes such as society's need for blame and the inevitability of desire... Hyper-intelligent, witty and meaningful." (Cameron Robertson - The Stage, 22/08/02)

"Language that melts in your mouth and explodes in your brain. His precisely chosen words and phrases bring terrible recognition in us... Well acted, well directed and - most especially - most painfully well written." (Catherine Lamm - British Theatre Guide, 20/08/02)