Riccio and his 33 actors have created a swirling scene of futuristic kitsch for their “Betawulf.” … Riccio has cleverly deployed the action throughout the Organic’s hangar-like auditorium. The actors emote in the rafters, sing religious chants from the back of the bleachers, clamber up scrap metal totems and swagger down an entrance ramp bathed in a blood red light. Huge sheets of plastic form the rough waves under which Betawulf and Grendel's mother battle gently undulating sheets of gauze serve as the sea Betawulf navigates.

The Chicago Tribune

There is without a question an audience for what Betawulf is: a serious, richly textured piece of stagecraft that incorporates haunting visual and aural effects and finely realized ensemble movement into an engrossing theatrical ritual. Betawulf evokes a sense of magic and myth that goes beyond the usual standards of “theatricality” back to the origin of performance as an expression off awe and wonder.

The Chicago Reader

In the post-apocalypse world, the enormous economic and technological structures that dwarf us have been swept away. The survivors are left to put the fragments to new uses on a human scale, a scale on which heroic action is once again possible. This may be the most seductive aspect of this scenario, even more so than seeing the enormous structures laid to waste.

The New Art Examiner

 

Hunt, who identifies himself specifically as a composer of New Music, assembled his scored improvisationally, working with actors, director T. Riccio and Sam Pappas, the well-known creator of original instruments as works of art. The final structure is a road map, wit crossings, cues, signposts, but with slightly different routes taken each night.

The Chicago Musicale