Kristen Roupenian reviewed the aforelinked Lennox Mutual for The New Yorker in March 2024:

Although much of “Lennox Mutual” is improvised, its writing team—[founder and creative director Evan] Neiden, along with the Candle House newcomers Olivia Behr and Joel Meyers—has crafted a work with a coherent, distinct sensibility. With its tone of icy melancholy, punctuated by both flashes of flinty humor and the occasional burst of heart-clutching shock, “Lennox Mutual” reminds me a great deal of the TV show “Severance.” Both “Severance” and “Lennox Mutual” involve the nefarious activities of mysterious corporations, but they strike me as less interested in critiquing a particular form of white-collar labor than they are in examining the world view that has given rise to today’s techno-optimist corporate culture—a set of beliefs whose choking tentacles stretch far beyond the office cubicle. This world view—which is, in essence, a theory of mind—takes as its fundamental premise that there is nothing about the human experience that cannot be made explicit in language, fitted into the blanks on a standardized form, and then submitted, in triplicate, to H.R. It is an instrumental approach to life which interprets every unproductive minute as a problem to be solved. In a world ruled by this philosophy, there is no trauma or dream or shame or pain or work of art exempt from the obligation to explain itself, and then put itself to work in service of the improvement of the self and others.

I loved watching Severance. I would not want to live Severance.

Neiden, the founder and creative director, told Roupenian:

[…] that there are people who have been doing calls once a week for more than a year.

What must it be like for the performers?