"Worth its weight in gold...an affecting work that readily breaks your heart, drags you through hurt and then kisses you on the forehead, sending you off with a laugh. This play left me breathless, and I’m not just using a manner of speech. As I made my way through the crowd of people exiting the theater, I took hard, shallow breaths, knowing that one deep inhale could set off a downpour of tears. This production either broke or mended something in me; I felt — brilliantly, painfully, cathartically — near the point of physical exhaustion. It seems as if the tears, the chuckles, the full body ache of feeling is the currency of an outstanding work of art. We give nearly two hours of attention, and great theater offers us empathy and humanity in return: riches of which even the world’s wealthiest can only dream."

— Maya Phillips, NYTimes (on "Cost of Living")

“...we understand these two characters because, at Majok’s urging, we’ve taken their timbres into our minds and put them in their rightful places: the unique person over and above the faceless crowd; the immediate and the real always more salient than a generalizing idea....Majok’s achievement is to make this recent history feel ancient.”

— Vinson Cunningham, The New Yorker (on “Sanctuary City”)

“By toppling old prejudices, Majok forces us to revisit our easy assumptions about people who really don’t want to be called “differently abled” and caregivers who could use a little love themselves.”

— Marilyn Stasio, Variety (on “Cost of Living”)

"What gives life value and makes it worth our daily toil? What does it mean to need another person, and what do we owe each other? It is a testament to the brilliant craft of Martyna Majok’s “Cost of Living,” now on Broadway after a successful off Broadway run, that it poses these sorts of colossal questions in scenes so bracingly intimate that you might be tempted to look away were they not so utterly magnetic...the kind of theater that imprints on the body and lives in your bones...one of the most poignant and arresting new dramas on Broadway in recent memory. “

— Naveen Kumar, Variety (on "Cost of Living")

“Majok has made it her mission to bring to the stage those characters who historically have played a subordinate role in the theater — the nameless, faceless workers who are hanging on by a thread in an economy that devours the weak, the marginalized and the unlucky.”

— Charles McNulty, LA Times (on “Cost of Living”)

“In plays like “Ironbound,” “queens” and now “Sanctuary City,” ...Majok writes about the plight of undocumented immigrants, with a glowering side-eye cast on the rest of us. Her unsparing, unsentimental vision of America... is like Albee’s of the country club set in “A Delicate Balance”: friendly to guests in theory, fiercely rejecting in fact.”

— Jesse Green, NY Times (on “Sanctuary City”)

“[Sanctuary City] is the kind of piece that Majok, a Pulitzer Prize winner for Cost of Living, does best, a work of majestic beauty that rips your heart out and shows it to you in its effort to tell the truth about experiences that the largely upper-middle-class audiences wouldn't otherwise have.”

— David Gordon, TheaterMania (on “Sanctuary City”)

“Sanctuary City spins its finest gold out of the imprecision generated by the juxtapositions that Majok creates, switching back and forth between uproariously awkward prom dances and tense, taut confrontations, as if flipping through the disparate channels of B and G’s shared past.”

— Dan Rubin, Slant Magazine (on “Sanctuary City”)

“​​You seldom see plays that are both harsh and wonderful, but that is the balance that Polish-born playwright Martyna Majok strikes…She writes with such energy and charisma that the play’s four characters feel vivid and real…The play never sugarcoats, yet it steers clear of bleakness because Majok’s language is so entertainingly alive.”

— Nelson Pressley, Washington Post (on “Ironbound”)

“The brilliance of Majok’s drama is in its bold and ambitious sprawl, traversing time and place to plunge the depths of immigrant experience, bringing us so close to the edges and surfaces of her vivid characters we can practically see the feathered brushstrokes. In Majok’s hands, the women’s lilting, accented English becomes a sort of impressionist’s tool, deliberately, even poetically, imprecise in service of a deeper, more visceral truth.”

— Naveen Kumar, Towleroad (on “Queens”)