as it may be, 'Michi's Blood' is on to something about people deprived of language, purpose and the awareness of their own feelings." Request Concert (1971) Mel Gussow reviewed Request Concert positively in 1981, saying that because of the "clearsighted dramatic vision of Mr. Kroetz [...] the mundane is transformed into something close to hypnotic. [...] Through an accumulation of details and objects, we arrive at a point of complete empathy with the woman". In a 1986 performance starring Salome Jens, Dan Sullivan of Los Angeles Times wrote that "one becomes absorbed in the woman's little tasks and the meticulous way she goes about them. [...] Kroetz may not have meant to leave a loophole [with the ending], but it only enriches his play." Katie Mitchell has called it a "difficult, beautiful play". A writer noted in The Herald that in 2011 the play continued to enjoy a level of attention uncommon for works by German writers of Kroetz's generation. Reviewing a 2016 BAM Fisher performance, Elisabeth Vincentelli of The New York Times said Request Concert (partly because of Danuta Stenka's performance) remains a work of "heart-wrenching power [...] Partly this has to do with the resilience of loneliness and boredom in our lives, despite our access to so-called social media." Reviewing the same performance, Paul David Young wrote, "Though she does not vocalize, Frau Rasch speaks on behalf of those voiceless souls in contemporary society who feel lost, purposeless, alone and unconnected. It is a political and very human voice." In a chapter of The Schaubühne Berlin under Thomas Ostermeier, Marvin Carlson referred to it as "powerful". Brecht-influenced works Cocalis claimed that by 1972 Kroetz had drawn some criticism for being too repetitive or too apolitical. Works like Lienz – Gateway to the Dolomites (1972), Maria Magdalena (1972), Sterntaler (1974), Heimat (1975), and Agnes Bernauer (1976) were neither critically nor commercially successful. In Maria Magdalena Kroetz in her view struggles with his own formal idiom, and the Brechtian elements of Sterntaler and Heimat make them less powerful than previous works, akin to melodrama or soap opera. Critics of Agnes Bernauer found the heroine unconvincing and the socio-economics oversimplified. The Nest (1974) The Guardian's Susannah Clapp expressed a lukewarm view of The Nest, describing some scenes as moving but arguing, "There is uplift at the end but the unremitting intensity takes its toll on the pace. Detail is a double-edged