“. . . a trashy delight . . . Diva and Lillian hark straight back to Jackie Gleason and Art Carney . . . And finally, a la South Park, results in a police shootout when someone plays with a cap gun. A satisfying result for a laugh-a-minute, harebrained play. It takes place on a suburban planet of its own.”                  —John Chatterton, OOBR

“With the help of some brilliant dialogue, and the clever antics of the three characters, your mind's eye will create the entire neighborhood including an elderly friend who is hit by a truck, a handsome Greek motorcyclist, and Diva's mother in the nursing home across the street. Lillian's punch, made especially for the occasion, is heavily spiked and the plot gets more outrageous as the "girls" imbibe.”                      —KDHX, St. Louis

“3 Guys in Drag Selling Their Stuff is side-splitting, to say the least . . . wicked wit . . . hilarious. Wells' script is silly, but structured and sprinkled with sensitive moments that further endear his characters to audience members.” —Elias Stimac, New York Off-Off Broadway Review

“This play does what Beckett was trying to do, but Beckett was too squeamish to face the facts of the decline of the West. Wells faces them with hilarious completeness, and therefore is able to be both funnier and more tragic than Beckett ever was.” —Robert Patrick, Drama Desk and OBIE Award Winning Playwright and Author of Kennedy’s Children.

“3 Guys' provides color coordinated joys and sorrows . . . a surreal but touching comedy by Edward Crosby Wells. Whether you call them drag queens or cross- dressers, whether or not you admire their heightened appreciation for the extra dimensions of style in female clothing, these males have all the human emotions of everyone else.” —Chuck Graham, TucsonCitizen

"For two hours, we witness the dysfunctional antics of the trashiest members of the Social Register; it's a sort of ‘Grey Gardens’ garage sale." —James Reel, Tucson Weekly

“A raucous comedy gets unleashed . . . hilarious . . . The unexpected complications create the high humor.” —Jesse Greenburg, The Desert Leaf, Tucson

“. . . it actually connects to issues that profoundly matter . . . we have a duty to think on these things and do what little we can to make this world a better place.”                                                                              —Andrew Eaton, The Scotsman, Edinburgh, Scotland

“ . . . very, very funny. It is also extremely rude, but if you are broad-minded enough then the one-liners come so thick and fast you barely have time to recover from the last joke before the next one slaps you in the face . . . Like any good play, the audience felt drawn to the characters and by the time they finished with a big show tune the fact that they were men in drag seemed to be the most natural thing in the world.” —David Muncaster, The Knutsford Times, England

“Delightful.” —Deb Flomberg, Denver Theatre Examiner

“. . . fun, campy, sometimes poignant. It may not change your life but it may make you change your red muumuu. The show is filled with witty one-liners and the expected crass sex jokes and vibrators. If you are looking for an evening of campy barbs and drag-queen bitchiness, you’ll get your money’s worth.” —Susan Zelenka, Daily Loaf, St. Petersburg, FL

“If you're looking for profound insight into the world of gender bending, well, look elsewhere. This show offers a few profound moments where you really 'get' where it's all coming from, but for the most part, it's a frothy, funny and at moments hammy ode to men in dresses and the bitter travails of yard sales. The play is by Edward Crosby Wells who has definitely gone for the silly, but the play has sufficient structure and sensitive intimacy to endear these characters to the audience even as they strut and pose and play their roles with farcical physical comedy and sharply witty lines . . . The simple fact of it is that when you hear of a play called 3 Guys in Drag Selling Their Stuff, you can pretty much figure on something witty and a little out of the mainstream. If you think that means good fun, you would be right on the money . . . profound moments . . . but for the most part, it's a frothy, funny and at moments hammy . . . Go, enjoy a guilty pleasure with an offbeat comedy that lets you put your mind in park and laugh.” —Lynn Welburn, Daily News, Nanaimo, B.C., Canada

"Three Guys in Drag Selling Their Stuff’ provides comedy, definition of friendship . . . witty . . . a light-hearted, refreshing comedy . . . an airy play to watch . . . constantly keeps the jokes flowing.” —Westley Thompson, The Daily Athenaeum, Morgantown, WV


"A masterful work of dramatic literature." —R.L. Perkins, Quest

"I was stunned . . . captivating original script by Edward Crosby Wells." —Michael Lazor, Naked E. Entertainment 


“Who knows what evil lurks in the lush confines of bedroom communities across America. Edward Crosby Wells' dark series of seven interconnected vignettes [Tales From Darkest Suburbia] gets subterranean with the suburban set.”  --Kerry Reid, CHICAGO TRIBUNE

“ . . . each of the tales surpassed the previous for ingenuity and humour.  What I really like about this play though, is that the characters, however surreal, are still believable.  Their conversation flows naturally and we gradually become embroiled in their extraordinary lives.  Tales from Darkest Suburbia is a remarkable achievement.  Although each story works very well on its own and could be presented independently as a short play, as a complete piece, it comes together very well, is most satisfying and very funny.  --David Muncaster, AMATEUR STAGE MAGAZINE, U.K.


". . . a mysterious and seductive game of rent boy and patron that spirals into an unexpected fight for life and death. Edward Crosby Wells’ play is a bit Gods and Monsters and a bit Zoo Story . . . compelling and intriguing drama."  —KEVIN CONNELL,

". . . an intriguing mixture of the erotic and dangerous."  —HX MAGAZINE

". . . strong, haunting, intense, suspenseful and engaging."   —HI DRAMA TV  "A brilliant creation!"   —S. BRAUN, STAGE PAGES

"Each transition, from opening the first beer to pulling the final trigger, had its own psychological logic—a sign of complete commitment by the’s not a show for the faint of heart ."   —JOHN CHATTERTON, OOBR

"If you're married (with repressed desires) and your spouse is away for the day in the hospital. this isn't your average day. If you cruise the parking lot of the local porn store and take home a hot stranger half your age and taller, stronger and perhaps possessed of magical powers, this is an unlikely day. If you start to feel in danger for you life and you suspect the motives of this funny guy who may be a psychopath, this is a setting for a new classic—the heir to Zoo Story . . . Electric . . . The story-telling is assured and highly intriguing. Every behavior leads logically to the next. This property has a movie in it  . . ."      —KENNETH WELLER, STAGE PAGES

"Thor’s Day was great . . . I pride myself on guessing the 'math' of thrillers and suspense pieces but this one kept me guessing till the end and beyond."  —JAY MICHAELS, ARTISTIC DIR., GENESIS REPERTORY

"[Thor’s Day] was very disturbing—in a good way—and I am still shaking from it."   —ANDREW ROTHKIN, ARTISTIC DIR., WHITE RABBIT PRODUCTIONS

". . . a great masterpiece of art."   —BRIAN TIMBLE, INSIDER ENTERTAINMENT NEWS


“A musical melodrama set in the late 19th century, Streets of Old New York is a piece of old fashioned "throw popcorn at the villain” type of entertainment.  The audience more than enjoyed this play; they howled with laughter!  The music was all of the period and surprisingly stands the test of time.  Mr. Wells wrote a gem of a piece that takes you back to the old Penelope Pitstop on the train track days and yet still writes in a way that anybody from the 21st century can enjoy and understand.  A smart producer should pick this piece up for an extended Broadway run.  It could bring back fun and innocence to Broadway as well as have a long life in community theatres and the school circuit.” —NYC STAGE PAGES, July 2004


"[Flowers Out Of Season] throws together sex, religion and suicide in a fresh, original and transcendent way . . . I think I have just seen the future of American Theatre.” —Michael Bourne, Circle Repertory Company

“Spiritually barren lives given meaning by fundamentalist religion. Comfortable lifestyles devoid of passion. And the finality of the gun. All reflect what happened to American values . . . and they form the subject of Edward Crosby Wells’ challenging new play, Flowers out of Season . . . one of the best things this theatre [Changing Scene, Denver] has done.” —Jeff Bradley, Denver Post

“Powerful stuff . . . riveting . . . thought-provoking . . . Flowers Out of Season is a production that promises revelations regarding working rural poverty, American health care, and religion as well as a healthy dose of dangerous eroticism . . . the show delivers on all of these promises – brilliantly at times . . .”                                                                                                                 —Randy Hardwick, THE CHICAGO CRITIC

“Edward Crosby Wells' play hails from the Nick Cave School of magic realism: set in the same sort of vaguely southwestern, vaguely antediluvian, lightning-driven flood plain of the mind, it has a Murder Ballads-style hero who may literally be the devil in disguise. The expressionism and outright fantasy of Wells' audacious, borderline supernatural scenario are well matched by director Madrid St. Angelo's stylized, sensual staging .”                                                            —Brian Nemtusak, Chicago Reader 

“Something significant . . . be advised that this is the show that will soon make the journey worth the effort.”    — Mary Shen Barnidge, Windy City Times


"A masterful work of dramatic literature." —R.L. Perkins, Quest, Denver

"I was stunned . . . captivating original script by Edward Crosby Wells." —Michael Lazor, Naked E. Entertainment