“Our narrator is a woman named Lillabit, although it seems Fennario’s true protagonist is the city of Verdun, itself a tragic hero of the Great War, and a site of warfare … Motherhouse challenges Canadian theatregoers’ expectations of what it is to experience a one-person show. … it is more a poetic political essay told through a theatrical character than it is a theatrical exploration of character involving political themes. … Fennario is working against the practices in theatre-making that serve to depoliticize creative output. He tasks us to tell real stories that can facilitate change: ‘No more pretending to be someone else on or offstage.’ … Just as Lillabit’s anti-war storytelling interrupts the militaristic, romanticized, red poppy-filled narrative of World War I that permeates Canadiana, Fennario’s script is an attempt to interrupt dominant practices of theatre-making.”
– Montreal Review of Books

“a vituperative indictment of class inequality, as expressed through a working-class Verdun woman’s experience of the war. It’s also darkly hilarious at all the wrong moments, for which I am personally eternally grateful … a very punk-rock production that takes aim at both modern and older manifestations of inequality, the use of the police state, and the perils of unfettered capitalism. I think that this play will take a lot of people by surprise (and anger a whole lot more).”
– Bloody Underrated

“a powerful work, rendered magnificently​​ … the play’s real subject is the choice we all face: to fight or uphold injustice.”
– Amir Khadir [translated]