Chicago Tribune - Highly Recommended
"...I've always divided translators of Chekhov into two groups — those who feel real sympathy for his characters and those (mostly British socialists) who subtly want to take the richer ones down, even as they swear not one Russian word was misconstrued. Baker is in the former camp, for sure, especially where the women are concerned. This is a warm translation, but also a remarkably invigorating piece of work that plumbs the existential depths without ever taking itself too seriously."
Chicago Sun Times - Recommended
"...It is not often that a review begins with a description of the set design for a play. But the world of “Uncle Vanya” that Todd Rosenthal and lighting designer Keith Parham have created for director Robert Falls’ grand-scale production of the Anton Chekhov classic that is now at the Goodman Theatre is so evocative in its mix of the splendor of a certain way of life, and the decay that invariably eats away at all life, that it demands instant attention. You enter the theater, and you ache to live within its walls."
Daily Herald - Highly Recommended
"...It took a long time for Robert Falls to tackle "Uncle Vanya." In fact, it took some 40 years before the director considered helming Anton Chekhov's play about unrequited love and unfulfilled lives. Goodman Theatre's current production is worth the wait."
Chicago Reader - Recommended
"...With an enormous assist from a fluent, gently idiomatic English-language adaptation by Pulitzer Prize-winning playwright Annie Baker (based on Margarita Shalina's literal translation), Falls finds and follows a simple, human arc through Chekhov's brilliantly deliberate mess. No Lear-like overreaching here. No ostentatious displays. No grand directorial conception, it seems, other than to get at the truth of these particular hearts and the manner of their intertwinings."
Time Out Chicago - Recommended
"...But though Hopper’s character gets the title, his Vanya takes a clear third place in this production to Vanya’s niece, Sonya (Caroline Neff, reliably grounded and accessible), and her unrequited love for the compelling Astrov. Csokas makes Sonya’s crush make perfect sense: With his brooding brow, loping physicality, Brooklyn-caliber beard and Kuzmanic’s three-piece suits, his Astrov is country doctor by way of L’Uomo Vogue, coupled with an intensity that made me jot down Michael Shannon in my notebook well before I was reminded that Shannon played Astrov in the Soho Rep production. Neff, who has experience at Steppenwolf with both Baker (in last year’s The Flick) and in modern Chekhov (in Tracy Letts’s adaptation of The Three Sisters), is an ideal audience conduit. The Goodman’s production may not feel like a reinvention, but it’s worth checking off your list."
Chicago On the Aisle - Highly Recommended
"...Chekhov’s “Uncle Vanya,” an existential snapshot of lost souls at a signless crossroads, exemplifies theater as an ensemble endeavor. In Annie Baker’s modernized, razor-sharp adaptation of the play, complemented by a directorial tour de force from Robert Falls, Goodman Theatre brings the spirit of dramatic teamwork to vibrant life."
Stage and Cinema - Somewhat Recommended
"...Perhaps this volatile mix of concentration and extroversion creates an audience pushback: Judging from the condescending chuckles heard on opening night, Uncle Vanya, especially when updated, comes too close for comfort. But the dead ends that these characters discover with almost suspicious eloquence and astonishing perception were never confined to the 19th century. The sad alternative to suffering with them is laughing at them. But why bother? The joke’s on us."
Around The Town Chicago - Highly Recommended
"...The Owen is the studio, black-box venue in The Goodman. For this production, the stage is open (as in most) and the walls and ceiling of the set merge with the audience section of the theater, bringing the intimacy of the two together. When the roof of the estate springs a leak, one can see the audience members flinch, thinking they will get splashed. (they don't). The technical aspects of the production are perfect, with lighting by Keith Parham, sound design by Richard Woodbury and costumes by Ana Kuzmanic. There are tons of props in this production, yet there is no mention of a propmaster, so I am going to give credit to the stage manager, Kimberly Osgood for everything on the stage that was not already mentioned.The Goodman has put together a cast of players from the most notable Chicago Theater Companies. It is like an "all-star" cast!"
Chicago Theatre Review - Highly Recommended
"...Life sucks sometimes. Everyone finds disappointment in his existence, at some point. But Chekhov’s characters seem to acknowledge little else in this classic play that finds humor in ennui. In Annie Baker’s dryly comedic adaptation, directed with naturalism and honesty by Robert Falls, we have what’s essentially a contemporary story, that just happens to be set in Russia in the late 19th century. Costumed with brilliance by Anna Kuzmanic, this is a cleverly captivating production and surprisingly cheery, despite all the dissatisfaction expressed by its characters. Therein lies the humor. Continual bitchiness is often funny. Sonya remarks near the end of the play that there’s no joy in life…but wait…just wait. Theatergoers will find the joy."
Chicagoland Theater Reviews - Highly Recommended
"...Baker is the behind-the-scenes heroine of the evening. Her version is fluent and allows the actors to give expansive performances that bring alive characters dangerously close to hapless failures. Still, the play takes a little too long to wind down and the final scene could be tightened a few minutes. The previous scenes bring the narrative to a crescendo of emotions and their impact is diluted by the drawn out final moments. That may be why the large crowd at my performance responded to the curtain calls with respectful applause rather than more demonstrative reactions. But overall this is Chekhov at a very high dramatic and theatrical level. If Falls ever fancies a revival of the playwright's "The Cherry Orchard," this is the core acting company that would give us a night to remember, and if Annie Baker burnishes the dialogue, so much the better."
The Fourth Walsh - Recommended
"...Although I would have personally liked 15-20 minutes shaved off, this adaptation of UNCLE VANYA keeps it real. Falls makes sure we feel the hopeless despair of being stuck in a routine, in a family, and in a house that used to be so much more than it is now. And he ensures our visit to UNCLE VANYA's is engaging. The room is bursting with characters!"
Third Coast Review - Recommended
"...Director Falls has assembled an outstanding cast of actors from Chicago and beyond. Hopper plays a soulful and sympathetic Vanya, while New Zealand native Marton Csokas gives a strong performance as his friend Astrov. Neff and Bush create mesmerizing characters in Sonya and Yelena. Falls' direction of the 2-hour-45-minute play is smooth and naturalistic, befitting Baker's adaptation."
Picture This Post - Highly Recommended
"...Noted for his contributions to the genre of psychological realism, Chekhov has long been lauded for his astute portrayal of humans in all of their absurd complexities. Playwright Annie Baker's treatment of his text is reverent, contemporizing his language to sound more natural to modern audiences without compromising the richness of each character. While some moments of Falls' production could more fully capture a sense of yearning, there is an unmistakable power in the play's quieter moments."
Splash Magazine - Highly Recommended
"...The Goodman Theatre is currently showing a highly sophisticated and beautifully set adaptation of Anton Chekhov's classic tale of love, ennui, and self- recrimination. Adapted by Pulitzer Prize winner Annie Baker and directed by Robert Falls, it's an exploration of the pre-Soviet Russian soul."
NewCity Chicago - Highly Recommended
"...As Sonia, Caroline Neff is wrenching in her lack of affectation. You may feel as though you're watching Rose from "The Flick" only in head wraps instead of hoodies but Neff's approach nevertheless works splendidly, especially in contrast to Hopper's melancholy Vanya and Csokas' morbid doctor both of whom are given to extreme emotional outbursts. In the end, "Uncle Vanya" feels like Neff's show though the glory of this production is shared among its gifted participants."
