Review: Terminus (Abbey Theatre – MCA Stage)

 
   

Ireland’s best takes to the MCA stage

  
  

Declan Conlon, Catherine Walker, Olwen Fouere - Terminus

  
Abbey Theatre, i/a/w Goodman Theatre presents
  
Terminus
  
Written and Directed by Mark O’Rowe
at
Museum of Contemporary Art Stage, 220 E. Chicago (map)
through March 6  |  tickets: $28-$35  |  more info

Reviewed by Oliver Sava

The monologue is a difficult thing to master, both in terms of writing and performance, so I was a little wary when I found out Terminus is only three intertwining monologues. Luckily, Abbey Theatre, the national theater of Ireland, knows how to transform the monologue into riveting theater, as Mark O’Rowe’s poetry is exquisitely performed by the three actors. Standing inside a shattered picture frame, giant shards of glass surrounding them, A (Olwen Fouéré), B (Catherine Walker), and C (Declan Conlon) recount the events of one evening that will change them forever.

A, an emergency hotline operator, explores seedy Dublin pubs as she looks for an ex-student who is trying to abort a child nearly come to term. When a night out goes horribly wrong, B finds herself face to face with the supernatural, and loves what she sees. And C cuts people up without any remorse, so he’s a bit of a wild card in the proceedings. O’Rowe’s evocative language uses rhyme liberally, giving the monologues a bit of a freestyle rap vibe that helps keep the momentum constantly moving forward. O’Rowe is an immensely skilled playwright, and he creates a bleak image of Dublin that is both intensely alive while horrifyingly decayed. The verse allows him to present information in new ways, creating images in segments to build suspense until the big comedic/dramatic reveal.

Catherine Walker, Declan Conlon, Olwen Fouere - TerminusConsidering how serious the subject matter is, O’Rowe’s script is very funny, albeit darkly. There’s a Bette Midler through-line in all the stories that lends itself to comedy but takes on a dark meaning in the context of the plot, and finding the comedy in the midst of all this darkness is why the script is so successful. His characters may speak in verse, but their speech is natural, and the language flows very comfortably from all three actors, who have the unenviable task of keeping an audiences attention on their own. There’s a strength between the three actors that has undoubtedly comes from their time spent in rehearsal, and the connection between them can be felt throughout the entire play, uniting them despite their separate stories.

O’Rowe doesn’t have the same problems as other writer-directors, and that’s because Terminus is a tightly constructed production that doesn’t over-conceptualize or complicate the script with directorial flourishes. The ambition of this play is in it’s script, and the actors turn in beautifully nuanced performances that capture all the ecstasy, terror, and heartbreak of urban life. Often cringe-inducing in its explicitness, O’Rowe’s script is a grim and graphic image of Dublin life, but the poetry of the langue finds the beauty hidden within the darkness of the city’s soul. I didn’t know what to expect from Ireland’s national theater, and now I know not to expect anything less than brilliance.

  
  
Rating: ★★★½
   
  

All photos by Ros Kavanagh

  
  

Designers get their due at 17th Annual Merritt Awards

Designers celebrate theatre accomplishments

 

2010 Merritt Awards 

By Katy Walsh

Scenery, lights, sounds, costumes; theatre design is devising storytelling beyond the dialogue. On Monday, May 3, 2010, Chicago gathered at the Goodman Theatre to celebrate the role that designers play in the theatre community. The festivities brought together veteran and rookies in the theatre design world for networking and fellowship. The focal point of the evening was the 17th Annual Merritt Award for Excellence in Design and Collaboration. The award honors the memory of Michael Merritt. Best known for collaborative work with David Mamet, Merritt was a Chicago theatre designer who died at the age of 47 in 1992. The Michael Merritt Endowment Fund preserves Merritt’s legacy with awards acknowledging established designers, nurturing emerging designers and encouraging design students.

The evening started with the 4th Annual Theatre Design Expo. Design students from across the country, along with a handful of Chicago designers, set up displays in the Goodman foyer to showcase their theatre portfolio and aspirations. After viewing the colorful and imaginative exhibits, guests trooped into the Owen Theatre for the Dialogue with the Designers panel discussion. Moderated by the Goodman’s Artistic Director Robert Falls, the group discussed the challenges and accomplishments of collaborative efforts in theatre. The panelists were Michael Bodeen (composer, sound design), 1997 Merritt Award winner John Boesche (projection designer), 2007 Maggio Award and 2004 Merritt Award winner Ana Kuzmanic (costume designer), The House’s Artistic Director Nathan Allen, and tonight’s Merritt honoree Collette Pollard (scenic designer). Following the panel discussion, the awards ceremony commenced.

First, the Michael Merritt Student Scholarships were bestowed on students from Chicago theatre programs:

Costume Design

Jeremy W. Floyd, Northwestern University

Lighting Design

Wade Holliday, Columbia College
The John Murbach Scholarship for Collaborative Design

Scenic Design

Williams G. Wever, The Theatre School at DePaul University 

 


2010 Merritt Awards

Next, the 2010 Michael Maggio Emerging Designer Award was awarded. The award honors the memory of Goodman’s Artistic Director Michael Maggio. This year’s recipient:

Scenic Designer

Collette Pollard, 2010 Michael Maggio Emerging Designer Award

Pollard’s recent design credits include The Illusion (review ★★★) at Court Theatre, Stoop Stories (review ★★★½) at Goodman Theatre and The House on Mango Street at Steppenwolf Theatre. Her next production opens next week at Writers’ Theatre, Streetcar Named Desire. Pollard has also worked with many Chicago companies, including; The House Theatre of Chicago, Timeline Theatre, Northlight Theatre, and About Face Theatre. Pollard earned her Bachelor’s Degree in Fine Arts with honors in scenic design from The Theatre School at DePaul University and her Master’s Degree in Fine Arts from Northwestern University. Currently, she teaches at Columbia College Chicago.


The evening climaxed with the Merritt Award for Excellence in Design and Collaboration presented posthumously in honor of the lighting and scenic design work of Michael Philippi.

Lighting and Scenic Designer

Michael Philippi (1951-2009)

2010 Merritt Award for Excellence in Design and Collaboration

Philippi passed away suddenly on his way to a technical rehearsal for High Holidays at Goodman Theatre on October 27, 2009. His most recent work was enjoyed at Goodman Theatre in productions of Desire Under the Elms, King Lear, Finishing the Picture, A Life in Theatre, Moonlight and Magnolias, and The Goat or, Who is Sylvia? Philippe also worked with many Chicago, national and international companies including: Northlight Theatre, Court Theatre, Chicago Shakespeare Theatre, Guthrie Theatre, Berkley Repertory Theatre, Milwaukee Repertory Theatre, Manhattan Theatre Club, and the Abbey Theatre in Dublin. He was a recipient of Jefferson Awards for Terra Nova and In the Belly of the Beast, both at Wisdom Bridge Theatre, and Hollywood Drama-Logue Awards for Kabuki Medea at Berkley Repertory Theatre and Changes of Heart at Mark Taper Forum.

The 2010 awards program and fundraising event was co-hosted by the Michael Merritt Endowment Fund Steering Committee at Columbia College Chicago and Goodman Theatre. Sponsors included Electronic Theatre Controls, Inc., J.R. Clancy Inc., Schuler Shook, Rent Com, Rose Brand and Steppenwolf Theatre.

2010 Merritt Awards