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Chicago Tribune - Recommended

'..Zusak's novel is an excellent piece of writing, not least because it is constantly preoccupied with the question of the culpability of ordinary people for whom speaking up would most certainly have meant serious trouble. That dilemma — when are circumstances so extreme that you must cry out, even if it comes at great personal cost? — was certainly pervasive during the Holocaust, when there were many layers of blame (and when you could argue that reduced culpability in such circumstances alleviated nothing). But many of us deal with it every day. Should you speak up at the office if you perceive a violation of ethics? Should you mind your own business? Should you fight openly or covertly? These are the questions that permeate Zusak's story, which contains so much for young people to ponder.'
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Chicago Reader - Somewhat Recommended

'..Though there are a number of assured performances in Hallie Gordon's production for Steppenwolf for Young Adults—notably Francis Guinan's as the narrator, Death, and Andy Monson's as a twitchy, mentally ill boy—the lighting is flat, the blocking awkward, and the set design deficiently minimal. All of which undercuts the performances and exacerbates the problems with Stillman's clunky, uneven script.'
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Stage and Cinema - Recommended

'..Steppenwolf ensemble member Francis Guinan is a treasure of the American stage. While the device of Death as narrator (similarly used in the novel) tends to deflate much of the tension in the story, Mr. Guinan's empathy for the human condition is tangible; the way that he sensitively cogitates over just the right word to describe his discouragement is magical and reassuring. It is his performance that evidences the The Book Thief's main theme: you will always be ready for death if you are an upright person. As Death, he steals your soul; as an actor, he steals your heart.'
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ChicagoCritic - Recommended

'..The Book Thief eventually becomes powerful but it sure could have been a stronger lesson about the foible of humanity. But it sure give fruit to the axiom: 'When Death tells a story, you listen.' I hope the teen audiences will realize the moral lessons demonstrated here.'
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Let's Play at ChicagoNow - Highly Recommended

'..Playwright Heidi Stillman adapts the bestselling novel to stage. Since it is a show about a girl's love of books, there are multiple stories and backstories and life stories that surround Leisel. Stillman uses a narrator to guide us on the journey of a Nazi-infested and war rampaged German village. Francis Guinan plays the narrator aka Death. It's through his eyes that we view the horrific results of the Hitler tyranny. A commanding Guinan delivers a matter-of-fact litany on the death count. Under the direction of Hallie Gordon, Francis Guinan keeps us amused and organized. He connects us to the various characters and life events. From lights up, Guinan's fascination with Leisel's scrappy spirit intrigues him. And us! Rae Gray (Leisel) is transfixing! Gray showcases impressive strength, emotion and spunk. Her exceptional performance is a 3+ kleenx minimum.'
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Around The Town Chicago - Highly Recommended

'..'The Book Thief' is a beautiful story, well told by a cast of solid performers. The transformation from book to stage works quite well and the emotions that it is meant to stir up in us, comes through. I know that at the end, a few tears rolled down my cheek, and yet, I walked away from this marvelous production feeling hopeful that the new generation will learn from the past and that over time, this sort of danger will cease to be as strong as it was back then or even today. Watching Guinan do his thing is a true lesson for any young actors who desire to make this their profession. He is a marvel to watch.'
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Chicago Theatre Review - Highly Recommended

'.. Steppenwolf's The Book Thief, expertly adapted by Heidi Stillman from Markus Zusak's acclaimed novel, takes its large audiences on a very personal and thought-provoking journey through one girl's life in Nazi Germany. The story is narrated by a Death who is haunted by humans, and who tries alongside the audience to understand why people do the terrible and generous things they do. This production is a magnificent example of the work Steppenwolf does for young adults, all adults, and their partnership with both Chicago Public Library's One Book, One Chicago initiative and the season-long initiative, Now Is The Time. This production is the perfect launching point from which youth and adults can make positive changes in communities of violence and intolerance.'
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