"Something crucial is missing...a sense that we have entered a version of that fictional world, no matter how it is refracted...There’s no palpable social critique, none of Dostoyevsky’s disgust with the ruling class; no real sense of the prince as a Christian paragon. Which might be fine — this is, after all, a response to Dostoyevsky — except that 'Idiot' doesn’t offer anything coherent in their place. The party here never really gets started."
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“An unwieldy mess. The theatrical medium and the literary content never gel, so while Robert Lyons and Kristin Marting's attempt is noble, it seems doomed from the outset…‘Idiot’ avoids most of the common adaptation mistakes...But these solutions create their own problems...By extracting just the 'I love you! You love him! He loves me!' bits, Lyons turns the source into a soap-operatic supercut...All Dostoevsky's heartbroken critique vanishes into the noise.”
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"Everything about this production is tepid, sedate, and leaves you wanting some caffeine...Doesn't quite feel formed enough to be a considered a compelling work of experimental theater...This show shouldn't be as dull as it is. Unfortunately, the impressive technical elements do little to distract from a dry script and overly cautious performances. There may be a brilliant immersive experience in 'The Idiot,' but in order to find it, Lyons and Marting might want to go back to page one."
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“They have taken a complex, psychologically detailed, and deeply philosophical work and reduced it to a four-way lover's spat...Billed as being ‘a response’ to the novel, it remains a strange effort...Its method is largely subtractive, providing too little to compensate from all that has been taken away. It provides a good illustration of the dictum that even a piece with a short running time can seem interminable if nothing seems to be happening.”
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"Playfully hi-tech and well performed, the show is overall enjoyable and interesting but the perpetual sensory bombardment at times overwhelms the experience of following the plot and characters...Director and choreographer Kristin Marting masterfully coordinates everything into a spectacle with sensational movement and dance. Robert Lyons has done a skillful, flavorful and faithful distillation...The spirit of Dostoyevsky does come through despite all of the technological tangents."
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“The casting of Kublick in the role of the Prince is a big part of what works in this production...His performance is warm, childlike, and captivating...There are several scenes including music...They’re fun to watch, but I cannot honestly tell you what the dramatic purpose was of any of those moments. They seemed to unnecessarily lengthen the run time...Maybe those who are more familiar with Dostoyevsky will find more to love in this show than I did.”
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"What occurs over Dostoevsky’s complex course of events has been condensed into a simplified—but ambiguous—narrative with a vaguely outlined time span. The thinly dramatized characters express their feelings in contradictory ways that offer little insight into what they really mean, the transitions seem arbitrary, there are philosophical and religious digressions that add little of interest...and by the time the piece ends you feel as if years have passed, not a mere hour and a quarter."
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"Who can say what Dostoyevsky would make of the brazen liberties taken with his famous work? But somehow the enterprise is so unexpected and astonishing—and the players so committed to what’s asked of them as they sometimes weave through, and address, the dropped-jawed patrons—that it’s difficult to laugh off the proceedings outright. Sometimes something so gleefully bold in nature deserves a succumbing respect."
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