"Guy Masterson's production gains a deeper relevance and forces an examination of social hierarchy and sexism in our own institutions. In the role of the vain lecturer, Masterson drives home the infuriating patronising manner of self-satisfied privilege while Beth Fitzgerald asserts an equally accomplished performance as the right-on student set on challenging the system. Forming an explosive combination, this proves provocative, divisive theatre." (Catherine Bromley - The List, 8 August 2002)

"At its best the play can inspire audiences to side with either character in equal proportions and, guided by director Emma Lucia, Masterson and Fitzgerald have accomplished this ideal. He plays the professor sympathetically, emphasising the well-meaning liberalism that accompanies his self-blindness... She brings a sometimes frightening passion to her character's confident zeal... One of the most emotionally intense and challenging hours on the Fringe." (Gerald Berkowitz - The Stage, 9 August 2002)

"I'm not sure how I've managed not to see this play by David Mamet before now given it's been around for 10 years, however that made this production all the more powerful. The story of John (Guy Masterson), a university lecturer who is destroyed by Carol (Beth Fitzgerald), a not particularly bright yet manipulative student. There was a point early in the show where John says "You don't have to take notes you can just listen". I had to agree, put my notebook on the floor, and sat there spellbound. Chatting to someone before heading off to see the show he told me that he had spoken to Masterson the day before and he was happy with the show. Happy? He should be ecstatic, as should director Emma Lucia who having taken two brilliant actors and equipped them only with two chairs, two bags, and a mobile phone on the huge stage of the Assembly Rooms' Ballroom could not have done a better job. It is a measure of great theatre that one becomes so engrossed one loses all sense of time. I thought this finished after 20 minutes until I checked my watch and found I'd been there for the best part of 90 minutes."(Martin Powell, Scotsgay Magazine, 9 August 2002)

"As soon as Masterson and the excellent Beth Fitzgerald open their mouths, one knows this is going to be a new take on a modern classic... Masterson's superbly acted professor shifts between self-satisfied posturing and human angst... Fitzgerald drags us into the piece as comprehensively as she pulls her needless adversary down." (Mark Brown - Scotland on Sunday, 11 August 2002)

"Fitzgerald and Masterson put in electric performances. Sparks fly as they argue, with the tension becoming so intense it will have you wriggling in your seat... This is a superb production that's guaranteed to make you think." (Paul Rhodes - The Scotsman, 15 August 2002)

"Does David Mamet translate to a UK context? In the hands of Guy Masterson and Beth Fitzgerald, it sure does... The believable nightmare flipside to the dream fantasy that is Educating Rita - and it is as well acted as you would expect of two regular deliverers on the Fringe... Does not produce a one-sided reading... In these hands it is timeless. Worringly so." (Keith Bruce - The Herald, 15 August 2002)

"Across a decade and from one continent to another, the play has lost none of its power. In fact, it seems to work even better in this context. Particularly with two fine performances from Beth Fitzgerald and Guy Masterson... In a succession of personal tutorials that descend into vitriolic verbal exchanges, she demonstrates that he is not merely wrong, but that he is wrong because everyone else is on her side... A verbal battle that is outrageous in its intensity and outcome." (Thom Dibdin - Edinburgh Evening News, 15 August 2002)

"A very good production... Guy Masterson and Beth Fitzgerald give excellent performances in this exploration of gender and power." (Philip Fisher - British Theatre Guide, 20 August 2002)

"A fine rendering of this acclaimed and much argued over play. Beth Fitzgerald seethes with anger and confusion... Masterson prowls around the stage expressing his exasperation with Carol in sweat, spray and anger... With education in crisis, Oleanna looks fresh... As the stunned audience filed out of the Assembly Ballroom, the debate about who was right and who was wrong had begun and it's impossible not to have an opinion." (Max Blinkhorn - edinburghguide.com, 12 August 2002)

"Everybody should experience the shock of this play." (Sunday Times)