People who want to be friends with everyone in their apartment block – I’m assuming the tenants are all gay, of course – should take heart from Barry Lowe’s new musical comedy, Lettuce Cutlets.   Apparently you can find true happiness by opening your ear to everyone in your apartment block, no matter how idiosyncratic they are. This particular set of characters – an ex-priest, a vegetarian, a ‘mad’ Mormon, a leather guy, and a male prostitute – is varied enough to produce spice for everyone’s appetite; and given the raciness of inner-city living it’s not unlikely that your own apartment block houses a similar menagerie (or perhaps I should say herbarium – hothouse? – for the vegetarian reader).     I don’t imagine there would be any gay person at all who wouldn’t understand the underlying thrust of Lettuce Cutlets … When a playwright is talking about sexuality, no matter what form, a gay audience finds it accessible and pertinent to their daily life. That’s the value in barry Lowe’s plays: they are immediate, everyone knows what they’re talking about, and they’re great fun. It’s the fun that carries them along till they reach what we’ve now come to recognise as the inevitable Barry Lowe conclusion: a komos where everyone has an orgy with a bit of a song and a dance. Needless to say, it’s the right conclusion to a play that hasn’t any wrong moments at all and is full of enormous bounce and gusto.   -George Daniel, Oxford Weekender News #43, 16-28 September 1982      The play opens on the scene of Steve (Dennis Scott) and Jed (Andy farmer) preparing for an evening of adventure in a leather bar. This scene leaves Steve looking like one of the Link’s hanky displays! Steve is the believable portrait of a Devout vegetarian trying to cope with an increasing interest in the leather scene. Jed introduces Steve to a leather bar where Steve meets Brad (Greg Parkinson) a real leather-man who turns out not to be as tough as he makes out. An appearance by Bede (Christopher Lyons), the local limp-wristed, shrill-voiced queen proves entertaining for the audience but embarrassing for the boys. The plays continues with appearances by Victor (Marcus Williams), a gay Mormon who photographs cow dung as a statement about the state of the world, and derrick bailey as a leather-sex shop owner of the old genre (Derrick also does the musical arrangements for this feast of theatrical campery).   This is a most colourful play with five or six musical numbers, climaxing with the whoel cast singing and dancing a reprise of one of the play’s songs – ‘Don’t Get Your Coloured Hankies in a Knot!” In my own humble opinion it is a play well worth seeing, especially if you follow, or just enjoy, Barry Lowe’s work as it is written in the usual (or is it unusual?) inimitable Barry Lowe style.   - Ken Weatherhead, Sydney Star, Volume 4 No.5