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Evan Cabnet’s production, with its handsome set by Beowulf Boritt, does atmospheric justice to Thérèse’s desperation: When she and Laurent meet for a tryst, his cramped artist’s garret hangs in the middle of the stage, like a cloud. Helen Edmundson’s cold-eyed thriller doesn’t shy from the lurid misanthropy of Emile Zola’s 1867 novel (a tale of adultery and murder and their brutal retribution) or its gothic, Poe-esque denouement. But it does give a sharp sense of the limited options available to women. Thérèse may be a shark—the word in French is requin—but you pity her the way you might a shark in an aquarium.

------TimeOutNY

The Roundabout Theatre is giving Broadway a strong, rare taste of the real thing. This is a suspenseful, beautifully staged adultery-and-murder thriller that, with the emotionally translucent Keira Knightley making her Broadway debut in the title role, left me feeling as if I had been somewhere faraway for just under three hours.

-------Newsday

With his petulant behavior, Ebert is—like Mr. Wormwood in “Matilda”—the guy you love to hate. Camille is crass toward his cousin, but then you almost care about him when he frets about his health … and then after he moves everyone to Paris, you hate him again. But then, there’s this boat ride, and … you get the picture. Ebert’s excellent. Judith Light, as widowed Madame Raquin, is the only character who earns unadulterated sympathy. Doting on her miserable son as only a mother can, forced to bury her own child—and then, after being left voiceless and paralyzed by a stroke, learning the truth about her son’s death. I just wanted to hug the woman.

-----NBC New York