Michael Billington, theatre critic for The Guardian, said that the play is "something of a hybrid: neither pure Boyd nor pure Chekhov. But it works because it deals with eternal Russian themes – and because it is performed with rare musical precision".[4]
However, Clare Brennan, for The Observer, said: "Boyd tacks circumstantial details to plotline shreds then trims characters to fit his pattern. The result is not a patch on the originals."[5]