by Jack Sain, produced by D.E.M. Productions for Fools & Kings Theatre, with set and costume design by Katharine Heath, lighting design by Ziggy Jacobs, and composition and sound design by Nathan Klein. In June 2019 the play was performed in Singapore by Wag the Dog Theatre Ltd., with Victoria Mintey as L'il Bit and Sean Worrall as Uncle Peck. It was directed by Warren Baumgart, Jr. The play was set to premiere on Broadway in previews on March 27, 2020, and officially on April 22 with Mary-Louise Parker and David Morse reprising their roles from the original off-Broadway production, with original director Mark Brokaw helming the production. However, in the wake of the 2019-20 coronavirus epidemic and The Broadway League's subsequent closure of all Broadway performances until June 7, 2020, the production was postponed indefinitely, with hopes to return the following season. In June 2021, it was announced that the production would begin previews on March 29, 2022, at the Samuel J. Friedman Theatre and officially open on April 19. Critical reception Jill Dolan, in her review in Theatre Journal, wrote of the original 1997 Off-Broadway production: "Vogel’s choice to remember Li’l Bit and Peck’s relationship nonchronologically illustrates its complexity, and allows the playwright to build sympathy for a man who might otherwise be despised and dismissed as a child molester....Vogel builds the relationship in scenes sculpted with spare efficiency by Brokaw that crystallize moments of trust, disappointment, longing, and desire." The CurtainUp reviewer of the original 1997 Off-Broadway production wrote: "Ms. Vogel has achieved the seemingly impossible: A story about a disturbing subject, pedophilia, that is as funny--yes, really,--as it is disturbing. Li'l Bit (Mary-Louise Parker) and Uncle Peck (David Morse) are painted with the delicate brush strokes of a sumi painting, more subtle than sensational, and as unstereotypical a victim and victimizer as Lolita and Humbert Humbert (from Nabokov's Lolita which the playwright credits as her inspiration)...Before I say one more word, this is one of the must-see events of the season..."<ref name=curtain>{{cite web|first=Elyse|last=Sommer|url=http://www.curtainup.com/drive.html|title=Review of How I Learned to Drive|website=CurtainUp|date=1997|accessdate=August 14, 2019}}</ref> The Baltimore Sun reviewer wrote of the 1998 Center Stage production: "The surprising gift Vogel has given her two main characters is that, instead of labeling them good and evil, or victim and criminal, she treats them both with respect." Ben Brantley, in his The New York Times review of the original 1997 production, wrote: