Barry Lowe’s play is largely autobiographical about a writer, Steve, who is having some difficulty coming to terms with a lot that is going on around him, both in his homelife (a three-way with long-time lover Nicky, and a third partner Sam) and some outside influences, in particular an outsider, the young Andrew who is part of the new gay breed: i.e. they don’t know what they really want either … half the time.   It’s an interesting play that gets a little preachy at times, although I must say that with some tighter direction, and some more thoughtful performances could hit the gay nail right on the head. This will come with time, as I caught it early in the season.   Dennis Scott as Steve gives the outstanding performance of the production, at times a little over the top, he is the epitome of the flamboyant – but intelligent – gay. The lines he gets are a scream and Mr. Scott delivers them with expert timing.   As Andrew, newcomer Carl Jones just needs a little more experience, but fortunately his obvious intuitive acting rescues him from hitting some bad spots.   Given the space at Syd’s, Simon Allyson’s inner-city apartment sets work reasonably well, although a couple of items technically have to be given some attention, including a most disconcerting blue light that remains on constantly making the entrances and exits (supposedly in blackouts) most annoying to watch.   I might also add – and this comes from several audience mumblings – that if the guys in the show are supposed to be screwing, and carrying on: why do they remain fully clothes? The preoccupation with sex that continues throughout the play seems a little pointless otherwise.   -Anonymous reviewer, The Sydney Star Vol.3 No.12, 15 January, 1982 (page 12)      The play’s particular honesty is to rubbish the notion of The Gay Lifestyle. Lowe finds meaning in relationships, and so he questions whether it is profitable even to envisage a number of gay lifestyles.    To use labels of that kind is not so much a matter of realism as of convenience, a convenience I immediately seize upon to say that Lowe’s sentiments, while not conformist, nonetheless lie impeccably within ‘mainstream’ gay thinking.   It may therefore come as a shock to him to learn that his play can be hailed, in spite of his presumed intentions, as a propaganda-piece for peripheral and unpopular gay viewpoints.  One accepts that lovers – especially long-time lovers – may need variety, and that they can reconcile this to giving first and foremost commitment to their relationship. A man who can say of his mate (as is said in the play) ‘he’s my whole life,’ can also selflessly say ‘he needs to fall in and out of love all the time – it rejuvenates him.’ I do not argue with that.   But why did Mr. Lowe conclude his play with a celebration of Steve’s secondary love relationship? Perhaps to avoid the conventional hearts and flowers alternative, of confirming old love. More likely, to illustrate a main thesis, that we should cherish all our relationships.  - Ralph Aldritch, Campaign, February 1982 (pages 32-33)    Writer’s Cramp is a strong play, dateless and in touch with the realities of conflict and love that bind (or tear asunder) gay male relationships. It is also a very funny play … pregnant with sarcastic wit and viper retort.   - Michael Padgett, Campaign, January 1984 (page 53) reviewing the Perth production.