good play, of important native material, well characterized, handling experimental technical material skillfully, worth any theatre's attention--amateur or professional." Workers' Theatre (January 1932): "Flanagan and Clifford mutilated the class line of the story and adapted it into a play form with a clear liberal ideology." 2010s Reviews Change in times leads many reviewers to overlook key elements in story and style: New York Theater Wire (June 2, 2010): "This production is a reminder that clever staging and theatre with aural, spatial, and performance ingenuity aren't the exclusive province of the big budget." New York Theatre (June 5, 2010): "The play itself feels dated and stiff, very much an artifact of a period when American dramatists were only starting to find their native voice and learn to tell stories of our country with depth and texture. But the history it recounts—for it is based, we are told, on actual events—is eminently worth remembering. And it's easy to understand why the good people at Peculiar Works Project have chosen to bring it to the stage at this particular moment, for the parallels between then and now are pretty clear." Theater Mania (June 7, 2010): "There's a refreshingly -- and appropriate -- homespun quality to the Peculiar Works Project's revival of Hallie Flanagan and Margaret Ellen Clifford's Can You Hear Their Voices?" Variety (magazine) (June 7, 2010): "high marks for research and a flunking grade for presentation" BackStage (June 7, 2010): "without the pedigree of co-author Hallie Flanagan, famed as the head of the New Deal's four-year Federal Theatre Project (and memorably incarnated by Cherry Jones in the 1999 film "Cradle Will Rock"), there's little reason to excavate this dated play" Village Voice (June 8, 2010): "Peculiar Works' production, impressively elaborate for such threadbare circumstances, tends to push the ideas at you heavily, but a genuine faith in the work's immediate relevance dignifies the pushing." New York Post (June 8, 2010): "...This revival of "Can You Hear Their Voices?" confuses Depression with depressing—depressingly bad, that is..." Show Business Weekly (June 8, 2010): "This brisk production, under Ralph Lewis and Barry Rowell’s direction, brings Chambers’s story to life with live music and projections of Depression-era footage by Matthew Tennie that smooth the transition between scenes. Deb O’s period costumes expertly evoke the era and add depth to Nikolay Levin’s minimal set, which uses platforms to make the best of its site-specific location. The cast