“… not onlyinteresting but fully captivating. The play is similar in tone to plays such asTom Stoppard’sArcadia or Carey Perloff’s Luminescence Dating. In Mr. Djerassi’s capablehands, the conflict between science and art and truth and beauty has rarelybeen this engaging. Or, indeed, funny…. If you enjoy witty academic banter,philosophy or great art, this is the show for you.”


            Duncan Pflaster in (New York, May 19, 2007)


“… a smart black comedy… asearch for truth as well as the delving into what makes up a person’s passion.”


            Lisa Ferber in York, May 16, 2007)


“Mr. Djerassi has theingredients for some funny stuff here, and when he seizes the opportunity thejokes land.”


            NeilGenzlinger in New York Times (May25, 2007).



multiple strains ofscholarship and streams of Shavian banterimpressive writing and livelyperformances”


            James Hannaham in The Village Voice (New York, May 29, 2007)

“… a portrait of the confrontationalrelationship between two experts, with their banter, some of it quite funny,defining the issues... amusing and edifying to watch them in action.”

            William Wolf in Wolf Entertainment Guide (NewYork, May 2007)

As an expose of bias on both sides of thedivide, Djerassi’s play is itself wonderfully unbiased.  Psychosexual as well as comic relief… afine theatre experience.”

            Rick Mullin in Chem. & Eng. News (June 4, 2007)

A comedy of academicmanners… keeps the proceedings lively, never allowing intellectuality to standin the way of a good joke. There’s even a touch of animate-inanimate eroticism.”


            TheNew Yorker (June 4, 2007)


“…intriguing andthought-provoking stuff, and very well acted”


            JuliaHickman in Theatreworld Internet Magazine (London, April 16, 2005)


“… a satirical blackcomedy about academic infighting… a happily satisfying mix of broad humour andthought-provoking comment.”


            Gerald Berkowitz in Theatreguide London (April 17, 2005)


Phallacy is knowingly clever, it requires yourconcentration, but it manages to be playful as well…. A mixture of farce andthriller…beautiful set…fluid production”


            Heather Neill in (London, April 18, 2005)


“Science and arts instylish conflict… strongly played characters in an entertaining and jocularrelationship… witty and light-hearted… anybody who fears intellectual overkillcan rest at ease. Like Tom Stoppard’s Arcadia, Phallacy is cleverly staged…”


            Rachel Calton in Camden New Journal (London, April 21, 2005)


“What is the true value ofart? In Carl Djerassi’s play, Viennese art historian Regina Leitner-Opfermann says“art is never necessary, simply indispensable”… but the true fascination ofthis piece is the battle that rages on between Rex and Regina—played withgusto by Karen Archer and Jack Klaff.”


            Aline Waites in Ham & High (London, April 22, 2005)


“Beyond the clash betweenscientific and artistic approaches to art, what holds the interest in AndyJordan’s slick and expensive-looking production are the fascinating methodsdeployed by experts in attributing a work of art’s origin. On this, Djerassiknows his stuff, giving the sense that both we and the play are in the hands ofa capable playwright and an expert scientist.”


            JohnNathan in The JC Jewish Chronicle(London, April 22, 2005


Oneof the classic problems of story-telling is how to get across essentialinformation to the audience, and both the science and the art historicalinformation in the play is clearly transmitted and convincing. And a periodstoryline… serves to humanize the ultimate goals behind both academicdisciplines in question, and to put their grandiose debate into perspective.They also bolster director Andy Jordan’s intriguing staging before the openinglines, when modern and historical characters swirl through the set in an oddlytouching, timeless parade of museum-goers. …fun, non-strenuous satire.”


            JenniferRohn in (London, April23, 2005)


“A debate on what makesart original and whether science or art can best capture human reality… It’sall high-concept stuff, and there are plenty of thoughtful juxtapositions alongthe way.”


            Helen Chappell in What’s On (London, April 26, 2005)


“This is an unusual, lightand enjoyable play, recommended especially… Michael Taylor’s set would do aWest End production proud… one of the most attractive and realistic set seenfor a long time.”


   (London, April 27, 2005)


"Phallacyis an intriguingplay, well acted, fast moving and embracing a host of questions and humansituations that are rarely touched upon in modern theatre… an appealing andthought-provoking new production."


            RobinClark in Nature (April 28, 2005)


Phallacy is the latest of eminent chemist Djerassi’s‘science-in-theatre’ plays. Suggested by a true story, the piece is packed withfascinating scientific and art historical facts, but is at its best dramaticallywhen it concentrates on academic satire.”


            Robert Shore in Time Out London (May 4, 2005)


“Part detective story,part satire of academic infighting, the play rolls along enjoyably under AndyJordan’s fluid direction, comfortably mixing broad comedy withthought-provoking debate.”


            Gerald Berkowitz in The Stage (London, May 5, 2005).


Phallacy is fast and funny, and captures well thebull-headedness of old-style museum curators… Djerassi makes a fun and furiousplay of it.”


            JosieAppleton in Culture Wars—Institute of Ideas (London, May 18, 2005)


“This is gripping,intelligent theatre…”


            Lionel Milgrom in ChemistryWorld (London, June 2005)


“Djerassi manages to makecomplex scientific, art historical and philosophical ideas accessible, evenentertaining, and Andy Jordan’s lively, slick production brings out the best inthe play.”


            MelanieBranton in TheatreWorld (London,June 2005)


“… an elegantly crafteddrama about the conflicts of art and science... bracingly acted”


            MarkShenton in Sunday Express (London, June 5, 2005)