“To Adams, we’re all endangered and slightly mad; the world’s a quasi-menacing, topsy-turvy place; and the mysteries of the future—and the past—beckon. Her plays unfold in expansive, often post-apocalyptic settings. They’re vibrantly theatrical, textually thick, compact and comical, teeming with oddball characters bravely flailing in an unpredictable universe. Adams’ language is an assured and often hilarious blend of the formal, the lyrical and the colloquial. Hers is an utterly unique and captivating voice.”
–Jean Schiffman, American Theatre magazine profile

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Wonders of the Invisible World: "Adams has a way of transforming ominous situations into thought provoking entertaining experiences, and she handles the premise of the Salem witch trials with care that ends up being thoughtful, mysterious, and if I dare say – startlingly funny."–Debbie Jackson, DC Theater Scene

Or,: "Her language has a natural period flavor and a formidable wit; her characters possess the spark of fully animated spirits; and she weaves into her story both biographical detail and cultural context with grace.”–Charles IsherwoodNew York Times 

Dog Act: “A brilliant blend of savagery and poignancy, the play succeeds in being humorous and thoughtful in equal measures, an elegy for humanity and a rollicking road story."–Flavorpill

Wet or, Isabella the Pirate Queen Enters the Horse Latitudes: "Adams’ writing is lyrical and circuitous, with an almost Shakespearean weight to it."–Curtainup.com 

The Listener: "Verbal dexterity and dark humor pack a provocative and entertaining punch."–Robert Hurwitt, San Francisco Chronicle  

One Big Lie: "A merry musical about death, destruction and devious deities… reaffirms that Adams is a voice meant for our time." –Chad Jones, Oakland Tribune 

The Reckless Ruthless Brutal Charge of it or, the Train Play: "I’ve more or less forgotten Baz Luhrmann’s La Bohème, but Crowded Fire’s production of Liz Duffy Adams’s Train Play left me with a resonant final image." —Robert Avila, San Francisco Bay Guardian