Chicago Tribune - Highly Recommended
"...There's no question that Steep has made something of a specialty - or maybe that would be better phrased as a sub-specialty - of plays from the United Kingdom (and sometimes Ireland) wherein the characters are trapped in some kind of personal anguish, often as a consequence of a lack of opportunity, a sense of middle-age ennui, a dysfunctional upbringing or a lousy marriage. There are those who argue the trope is repetitious. But specialization breeds expertise - and deeply moving, authentic and beautifully acted evenings of gritty Chicago theater."
Chicago Reader - Somewhat Recommended
"...Jonathan Berry's staging is as bloodless as the script for most of its 110 intermissionless minutes. The exception is Shane Kenyon, who brings charisma and some much-needed danger to the role of Anna's ne'er-do-well uncle."
Time Out Chicago - Recommended
"...The title of British playwright Nick Payne’s 2009 work isn’t actually spoken in the script, but it seems a likely response to a line that comes from Peter Moore’s character, George: “There is absolutely a balance.” But you can see in George’s pleading tentativeness that he hasn’t found it yet."
Theatre By Numbers - Highly Recommended
"...Peter Moore and Shane Kenyon shine as polar-opposite brothers: the elder a somewhat repressed intellectual, the younger an earthy heart-driven guy. They love each other, but they have no idea what to do with each other. Also moving is the relationship Anna finds with her uncle. Their common ground is their loneliness, and their awkward, lovely evolution into uncle and niece both accentuates and also dissipates that isolation. Terry's arrival serves as the catalyst to unleash the tension that has built up in the family; his sudden disappearance has equally cataclysmic results."
Chicago On the Aisle - Highly Recommended
"...Within the tiny arena of Steep’s playing space, Nick Payne’s concisely crafted portrait of four characters in search of something – the It of the title – makes a penetrating, disturbing impression. And director Jonathan Berry’s adept use of Chelsea M. Warren’s compact, tiered set pulls us heart and mind into lives that are bruised and scarred, but not beyond redemption."
ChicagoCritic - Recommended
"...If There Is I Haven't Found It Yet is a quirky work that is empathetic to the bullied Anna while also paying homage to honesty and forthrightness of Terry. He is the only one willing and able to see the value in truthful interpersonal relationships. This simple play is subtly poignant on a global and familiar level. it is worth a look."
The Fourth Walsh - Recommended
"...
All Payne’s characters are flawed but likable. Under Berry’s direction, the formidable Kenyon cracks the icy facades to find the warmth in each. His interactions violate their established personas. His interference endears, empowers and enrages. We see Looney, Moore and Marker soften under Kenyon’s pressure. Berry chose to play up Kenyon’s volatile nature by keeping the others‘ emotions understated. Although this decision mostly worked, a pivotal scene was more lukewarm than scorching."