It's a week since press night but still the Google Alerts are pinging into our inbox with news of new Terre Haute reviews.
David Kennerley was almost unreservedly thrilled with "Edmund White's spare, spellbinding drama," in Gay City News.
"The beauty of the play, as well as the source of its unrelenting tension, is watching these two forces wrestle for control of an ideological higher ground...spilling many painful truths about morality and mortality along the way.
"George Perrin, who also directed the West End production, guides the drama with admirable restraint, avoiding the potholes of polemic and coaxing the subtleties of ideas and mannerisms into poignant relief."
He had just one caveat: "The erotically charged, soul-baring climax - which I cannot give away here - would have been more satisfying if it revealed, shall we say, just a little bit more."
Now, now David.
Over at Live Design, the preoccupation is with design, not altogether unsuprisingly.
"The crepuscular, single-lightbulb illumination is appropriate for Edmund White’s headlines-ripped two-hander, in which a Gore Vidal-ish writer, James (Peter Eyre) interviews a Timothy McVeigh-ish terrorist, Harrison (Nick Westrate)," observed reviewer Robert Cashill.
"Hannah Clark’s stark design cages Harrison in a screened-in cell, with burnt bits of paper strewn around the floor. Matthew Eagland’s bare-bulb lighting complements the minimal, incisive set, and Heather Fenoughty supplied the quietly urgent score."