“[White Hot] is excellent … What makes the show great are the script and the stomach-churning performances … We know this can’t end well—we knew from the start. But to make stories about awful, broken people watchable, there has to be something to recognize or something to surprise. You’ll find both here. There’s no intermission, and the sounds and lights startle and seethe as the shitshow unfolds. The audience staggered a bit on the way out. You’ve been warned.” – Anna Minard, THE STRANGER
“White Hot is a fever blister of a play. It’s not nice. It’s not pretty. It’s raw and tough and meaty, grown up theater for adults who crave intellectual and artistic drama.” – Michael Strangeways, SEATTLE GAY SCENE
“A condensed burst of theatrical malevolence … Only an hour long, White Hot achieves an electric unpredictability on the strength of its production elements; specifically it is in the realm of its cast and Smith’s script that make this a production that sticks to the memory.” – Jose Amador, SEATTLE STAR
“A heady mix of intellect and emotion … full of danger and sexual tensions … deliberate, interesting, dangerous. This is a fresh new production that deserves your attention.” – Miryam Gordon, SEATTLE GAY NEWS
“[Tommy Smith] is writing in the shadow of our most daring and politically incendiary of martyred playwright saints, Sarah Kane and Edward Bond … White Hot is bleak terrain, a buried cesspool of self-loathing and unseemly, sadistic yearnings in love. The play can be read as a critique of the deadening fallout of our reactionary, materialistic, exploitative and soulless era. It can be read as a bad dream or a soap opera about the banality of evil. However you read it, it doesn’t go down easy.” — Craig Lucas, NEW YORK THEATRE REVIEW
WHITE HOT plays through Saturday, February 11 at West of Lenin in Seattle.
photo by Alan Alabastro