Jack Anderson, The New York Times:

“Claudia Bruce portrayed a woman who, the dialogue and movement implied, wished to go to an unspecified place. Later, she was accused of a crime. After a trial, she shot herself, only to recover. Then she put on a blindfold as if she stood before a firing squad. The people who observed her included James Howley, who wondered where Ms. Bruce was going; Philip Shepherd, a natty fellow in knickers: Serafina Rotondi and Susanne Helmes, who spoke in foreign languages, and Cateline Alteirac, who played a haughty waiter who never served anything grander than Coca-Cola.”

Jack Anderson, The New York Times:

"The action involved searches for clues, conspiratorial pacings and mad chases. The performers sometimes adopted the stiffness of upper-class characters in British drawing-room comedies; at other times, they were as tense as suspects in a detective story…

Little Stumps and Real Conversations called attention to the way meanings may be hidden as well as conveyed by ordinary conversation. It also reminded us that posture, tone of voice and speech and body rhythms may provide clues to truths about human feelings. For Ms. Mussmann, people are always putting on an act - on stage and off.”

Downtown Magazine:

“The story centers on Clover, a foreigner in a foreign land. The multiple references to making connections at a train station do little to provide anything that might constitute "plot." A la Stein in her more obtuse performance vein, the emphasis is on the modernist's self-conscious pose. (“Excuse me for interrupting the performance,” exclaims one of the figures, “but the next part is too sad. We wish not to tell it.”)

The narrative thread is continually being fumbled or lost only to be picked up later at slightly different intersections, suggesting the importance Stein gave to alternative perspectives. The focus is rather on the rhythm revealed through accumulations of verbals and physical gestures the dance component presents the players as so many chess figures on a board.”