Kris Vire writes for TimeOut Chicago:
“Mucca Pazza maestro Mark Messing, using Maher’s text as libretto, sets Beethoven and Quasi’s nettlesome forensics camp to a spiky score for piano and cello…
“The result is as serious as it is silly, with Messing’s music amping up the stakes with its contrapuntal vocals… Wolff and Adams find a remarkable range from glib comedy to soulful sorrow in their characters’ variations. Maher’s text, while reveling in its own absurdities, slowly becomes a worthy meditation on the irresistible and often frustrating character of the creative impulse—and the subsuming nature of creative failure. Though the staging is simple, the operatic sweep feels apropos.”