Chicago Tribune
- Recommended
"...All great plays are mostly about death. But very few of them are about the death of a 4-year-old who chases a dog out into a suburban street and gets hit by a car. More precisely, this widely and justly acclaimed Broadway drama (soon to be a movie with Nicole Kidman) is about the aftermath of that death -- how the bereaved, suburban parents struggle to cope with their loss without ripping each other apart in the process."
Chicago Sun Times
- Recommended
"...Lindsay-Abaire has found pitch-perfect modes of expression for every one of his characters, and captured the way the most quotidian events can be loaded with unexpected emotion. Director Steve Scott has assembled an ideal cast that captures every nuance of the tension and yearning."
Daily Herald
- Highly Recommended
"...A sharp, unvarnished drama about a grieving couple struggling to move forward with their lives eight months after the accidental death of their young son, "Rabbit Hole" sparkles. But discreetly. Therein lies its power."
SouthtownStar
- Recommended
"...As is always the case in a Goodman production, the play has been mounted with rigorous attention to detail. Steve Scott directs with a sure hand; Scott Bradley's set design of a wealthy home in upstate New York is so beautiful that one could live in it; the lighting by Robert Christen evokes the passage of time; the costume design by Brigit Rattenborg Wise, especially that for Izzy, well conveys character; and the original music and sound design by Richard Woodbury provides atmospheric tension."
Chicago Reader
- Somewhat Recommended
"...Despite playwright David Lindsay-Abaire's flaccid, repetitive dialogue, director Steve Scott's five cast members find moments of pathos in this insular domestic drama about an upper-middle-class couple's struggle to deal with the accidental death of their four-year-old son. But even unaffected, committed performances can't generate the urgency missing from the script."
Windy City Times
- Highly Recommended
"...amidst the sorrow, Rabbit Hole is—remarkably—slivered through with humor. There’s a trenchant wit at work here, and from the aching struggles of Becca and Howie, it flashes like a shard of a mirror turned toward sunlight."
Gay Chicago Magazine
- Recommended
"...Playwright David Lindsay-Abaire crafts the straightforward portrayal of his characters and their struggles like a fly on the wall. This type of honest depiction of the lives of those affected by death demands honesty from the actors. Amy Warren, brilliantly playing the part of Becca’s sister, Izzy, delivers this honesty with captivating humor and subtle depth. Mary Ann Thebus follows suit with a charming performance of Nat, Becca and Izzy’s eccentric mother."
EpochTimes
- Highly Recommended
"...Director Steve Scott keeps the action moving well and there are many funny moments although the topic is one of a serious nature. Ms. Warren and Ms. Thebus are both gifted when it comes to comic timing, but all in all this is an ensemble that makes this story come alive and allows the audience to feel all of the emotions that the playwright has penned."
Time Out Chicago
- Recommended
"...Like last fall’s Vigils, Rabbit is part of an American theater that replaces the tragic with the therapeutic. Rather than identifying, as we do in tragedy, with a protagonist whose death we experience partly as our own, we instead increasingly identify with characters who recover from either death denied or someone else’s death. It’s of a piece with a mortality-rejecting culture: We don’t experience loss and its finality; we get over it."
ChicagoCritic
- Recommended
"...It is a moving and sad work filled with complex characters trying to forgive themselves and each other for an event that couldn’t control. Lia D. Mortensen and Daniel Cantor were impressive and Amy Warren and Mary Ann Thebus round out a first class ensemble. You’ll feel good about the power of the human spirit after seeing Rabbit Hole."
Chicago Stage and Screen
- Recommended
"...The amazing Lia D. Mortensen keeps Becca’s emotional life firmly guarded; indeed, it is only in her second act confrontation with her son’s unwilling killer that she allows that pain to come to the surface. It is a rare and exquisite performance."
