Firstly, from Variety (New York), by Charles Isherwood "Roundabout serves Coward with a twist"*
Ehle's Gilda is the play's brittle emotional pivot, and if the actress sometimes repeats the same effects - beaming through a haze of tears, for example - to the point of monotony, there is nevertheless a glowing core of real emotion in her performance. She is also a luminous stage presence, as poised and lovely as an orchid amid the handsome surfaces of the production
Secondly, also from Variety, by Matt Wolf "The 'J' word"*
A homegrown American production of a problematic British play might itself sound like a recipe for disaster. But that's to deny the bracing intelligence of a Noel Cowand revival from Mantello, and starring Ehle, that is brave enough to face the obvious -- the menage a trois in this supposed comedy don't generate much mirth. Instead, Mantello shifts the attention to a union of supposed sophisticates linked by dissatisfaction when the best they can hope for, or so reports Ehle's Gilda, is to "cry just a little."
"I paint their souls," says Alan Cumming's portraitist Otto, and so does a staging that peels back the banter to lay bare the anomie beneath. Playing the erotic pivot of the piece, a nervy Ehle has never been less ingratiating. Which may also be why she has never been better.
(Full text of each article unavailable online, and not transcribed because of length)