"Deb Margolin is a product of 20th-century technology, trapped in its cat's cradle of cables, cameras and sound bites. A true child of the times, she finds her images in the media, but restructures them with a jaundiced eye. A tone of hysteria edges even her most rational statements as she searches for truth in a culture that has papered it over with airbrushed photos and episodes staged for daily news briefing."
Iris Fanger, The Boston Herald, May 18th, 1991
Poignant and macabre, Margolin makes us feel the solitude of pregnancy, an experience as private and inward as masturbation, as rife with fantasy. Pregnancy desexes as woman, she wittily demonstrates, vamping in a skin-tight dress, rubbing her belly, and propositioning pigeons in the audience. Margolin is evolving into a stnad-up poet. To her, scars are ghost, "haunting the surface of the body," reminding us of past pain.
Laurie Stone on "Gestation", The Village Voice, Movember 12th, 1991
The critic isn't watching the play; he is the play. Ms. Margolin, a sparkling downtown wit, places the reviewer, portrayed by Andy Davis, smack dab at center stage, as if he were a museum exhibit. With the table so disarmingly turned, Ms. Margolin can live out an actor's fantasy: she can review him.
Peter Marks on "Critical Mass", The New York Times, March 8th, 1997
It's amazing the number of riffs and scenes she concocts to waft the decaying scent of bad sauce in deceptive bottles.
Laurie Stone on "Critical Mass", The Village Voice, March 4th, 1997
Talking, for Ms. Margolin, seems to involve absorbing the world through her own critical eye, then squeezing it out through her pores in a language so sinewy it almost aches.
Ann Daly, The New York Times Sunday, March 2nd, 1997
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