• “Patrick Marber’s Closer is a sad, savvy, often funny play that casts a steely, unblinking gaze at the world of relationships and lets you come to your own conclusions. (…) Marber tells his story in short, staccato scenes in which the unsaid talks as loudly as the said. The dialogue is almost entirely stichomythic, the occasional speech still not much longer than a few lines. There are frequent pauses, but not of the Pinteresque variety — more like skipped heartbeats. (…) Closer does not merely hold your attention; it burrows into you.” – John Simon, New York 
  • “(A) powerful, darkly funny play about the cosmic collision between the sun of love and the comet of desire. (…) The key element in pornography is the absence of love. What’s new about Closer is that it’s a play about love that’s fighting fiercely not to become pornography — or a play merely about lust, about appetite.” – Jack Kroll, Newsweek 
  • Closer is a bruising dissection of modern relationships, in which sex is the subject even when it’s not, honesty is frequently not the best policy, and people with choices almost always make the wrong one. (…) Closer is such a shrewd piece of contempo-realism that its shortcomings as drama might be overlooked. (…) Like a skilled hooker,Closer is satisfying mainly in the moment; as a lasting experience, it leaves something to be desired.” – Richard Zoglin, Time 
  • “Love, here, is founded on deception and lies. Each character assembles fictions — from photographs or writing, pornography or personal history — but, in so doing, they also steal from each other. (…) Marber’s thematic material is intricate and always intelligently handled, but he is inclined to overstatement. (…) (T)he power-struggles in the quest for love, the damage inflicted by them and the ultimate disillusionment of the lovers all ring true; Closer is both absorbing and funny.” – Lucy Atkins, Times Literary Supplement 
  • “(T)he piece is Les Liaisons dangereuses with the moral component removed, carried on in the alternately blunt and secretive spirit of a cutthroat bridge tournament. As in his earlier play, Dealer’s Choice, Marber is sharply observant in mapping the clashes that arise as his compulsively faithless characters dive eagerly toward their next betrayal. As before, he’s less sharp in finding a dramatic shape for his observations.” – Michael Feingold, The Village Voice