Chicago Tribune - Recommended
"...The 11 members of the ensemble, many of whom play multiple roles, handle the transitions with ease, and the doubling also allows for some touching resonances — most notably when Byrd moves from the insufferable Drusilla to lovelorn housemaid Rosanna. Kauzlaric's script touches on the brutal consequences of colonialist imperialism and opium addiction without losing sight of the fact that "The Moonstone" should, above all, reflect a slightly askew, but affectionate, portrait of a comfortable English gentry on the verge of unimaginable changes."
Chicago Sun Times - Recommended
"...As in the novel, there are three narrative perspectives on offer — one for each act — in a show that is full of energy, but a good bit too long to fully sustain interest. As amusing as many of the characters here might be, it is really hard to work up much interest in the fate of this gem or the question of whodunit."
Chicago Reader - Somewhat Recommended
"...The whole shebang amounts to a three-hour shaggy-dog story--not charmless, but not a good use of the talent and effort on display. Accents aside, the cast is strong, especially Ann Sonneville as the haunted ingenue. The set, lighting, and costumes are all solid, and director Paul Holmquist does a decent job of keeping things moving in acts two and three."
Examiner - Somewhat Recommended
"...That The Moonstone almost collapses under the weight of its own exposition isn’t entirely the fault of adaptor Robert Kauzlaric. The very structure of Collins’ ground-breaking novel (The Moonstone is widely regarded as the world's first detective thriller) defies compelling, efficient translation from page to stage. In telling the intricate story of a massive diamond stolen from an Indian shrine, Collins employs multiple narrators, each of whom spend great blocks of text explaining various aspects of the story. The primary problem on stage? Too much of the action isn’t shown, it’s told."
Windy City Times - Highly Recommended
"...This brand of boat-in-the-bottle drama is Lifeline's stock-in-trade: Paul S. Holmquist's direction makes for an always-uncluttered stage picture (as do the dressers responsible for converting the 11 actors into twice that number of characters in mere seconds). Together with Ian Zywica's multiple-level scenic design—encompassing locales ranging from the exotic Orient to the foggy marshes of northern England—Cristina DeRisi's cello-based score of somnolent incidental music, and Brandon Wardell's shadowy lighting, they create an atmosphere of suspense to rivet our curiosity for every swiftly paced minute leading up to a satisfying resolution."
Copley News Service - Highly Recommended
"...The Lifeline Theatre has carved out a niche in Chicagoland theater with its creative adaptations of classic novels, especially English fiction. Robert Kauzlaric has done a quality job of converting the original Wilkie Collins story into a three-act play that runs 2 hours and 45 minutes including a pair of intermissions. The 11-member Lifeline ensemble takes on about 20 roles, highlighted by a number of outstanding performances. But it’s the storytelling that holds the stage."
Time Out Chicago - Highly Recommended
"...
Bill Morey’s flamboyant period costumes (which mix shades to splashy effect) add a mesmerizing touch of chic to every scene. Brandon Wardell’s lights emphasize climactic moments with pleasurable ham-fistedness. Even Ian Zywica’s scenic design (which features an odd combination of amateurish paint jobs and multitiered, crafted cleverness) sets the right mood: self-serious, maybe, but fashioned to tell a ripping good tale."
ChicagoCritic - Highly Recommended
"...The almost 3 hour running time necessary to tell the story move along so tightly that you’ll hardly notice. It is so refreshing to see a marvelous and relatively unknown novel come to life as the folks at Lifeline Theatre have here with The Moonstone. You’ll be thrilled and totally enamored with this wonderful mystery. Be ready for a twist at the end."
Chicago Stage and Screen - Highly Recommended
"...Author Wilkie Collins casts a believable spell of suspicion over each and every inhabitant of the story. The benefactor of the Moonstone, Rachel Verinder, is quite put off by the investigative intrusion into her private life, claiming "This is a vile farce and I want nothing to do with it". That's enough for the botanical loving Sergeant Richard Cuff to place her at the top of his list of possible culprits. Then there is the lovelorn chambermaid Rosanna Spearman, with a hidden past and unrequited love for Franklin Blake, whose own heart is already committed to Miss Verinder. Rachel's philanthropic cousin Godfrey Ablewhite hopes to make their relationship a bit less platonic, but is he truly motivated by love or fortune?"
Around The Town Chicago - Somewhat Recommended
"...There were several comic touches, often between scenes where things were explained to us and perhaps the comedy detracts from the audience getting the full understanding of what the actors are saying. It is difficult, when writing or adapting to cut things out that “feel good”, but sometimes, one has to look back and say “is this needed?” Maybe Kauzlaric should step back and review his work. With a clip here and there, he may just have a show up to the usual standards of this viable theater company."
Chicago Theater Beat - Recommended
"...Lifeline Theatre’s tagline is Big Stories, Up Close. With a stage that actually looks like a ‘Gosford Park’ pop-up book (Scenic designer Ian Zywica), The Moonstone is a perfect winter read. The mystery entices with playful ruse. The story is told from intimate perspectives. And at the end, it’s just a nice, cozy fit."