Review: God of Carnage (Goodman Theatre)


‘God of Carnage’, worthy of worship?


(l to r) Alan (David Pasquesi) tries to comfort his wife Annette (Beth Lacke) as Veronica (Mary Beth Fisher) continues to discuss the argument between their two children. Photo credit Eric Y. Exit

Goodman Theatre presents
God of Carnage
Written by Yasmina Reza
Directed by Rick Snyder
Goodman Theatre, 170 N. Dearborn (map)
through April 17  |  tickets: $22-$90  |  more info

Reviewed by Barry Eitel

Yasmina Reza’s God of Carnage must be a producer’s wet dream—four actors, one set, and a run time less than 90 minutes. Plus, it’s hyper-relevant to upper-middle class urban professionals. The overall vibe is very similar to Reza’s Art, especially in skewering yuppie lifestyles. It all worked out very well for the Goodman, which snagged the Midwest premier after the Broadway debut won a bevy of Tonys and Broadway in Chicago dropped it from its season. With all the encapsulating hype, Reza’s tight little play (translated and Veronica (Mary Beth Fisher) is horrified as her civil get together turns into chaotic mayhem. Photo credit: Eric Y. Exittweaked for American audiences by Christopher Hampton) is sure to get some butts in the Goodman’s seats. And the production lives up to the hoopla, even though no one in the cast has the national name recognition as Jeff Daniels or James Gandolfini.

The idea Reza plays around with in her play is whether adults and children are really that different, especially when it comes to scuffling. One child whacks another in the face with a stick, knocking out a couple of teeth. We see the obligatory meeting of parents sans children. From the beginning, there’s the awkward conflict between parenting techniques. Add to that the fact that maybe no party is innocent. Of course, things quickly spiral out of control.

To direct this darkly hilarious piece, the Goodman selected Rick Snyder, the same who directed a terrific production of Art at Steppenwolf a couple of seasons back. His experience with Reza shows—he allows his cast to push the humor just enough before becoming too ridiculous.

In the end, God of Carnage is an actors’ show. The New York folks got that when they brought in Gandolfini, Daniels, Marcia Gay Harden, and Hope Davis. Snyder cast his own set of Chicago stage heavyweights: Mary Beth Fisher, Beth Lacke, David Pasquesi, and Keith Kupferer. The foursome has a great thrust and parry with each other—and this is a play where alliances constantly shift and no one is on any one else’s side for very long (even if they’re married to them).

Pasquesi is Alan, a high-profile corporate lawyer, and is married to Annette (Lacke). She’s bothered by his love affair with his Blackberry. The hosts, Veronica (Fisher) and Michael (Kupferer, in the role originated by Gandolfini), are victim to their own neurosis. Veronica writes books about far-away conflicts and buys books about art; Michael sells doorknobs (among other things) and recently tossed the family hamster out on the street. Things really pick up when the liquor starts flowing, a la Who’s Afraid of Virginia Woolf? Really, you end up feeling sorry for the unseen children most of all.

Unfortunately, it seems like Snyder holds back, which is the show’s biggest shortcoming. There could be more chaos. I was also hoping for more rolling-on-the-floor laughing moments. The Monday night opening came off as a little Monday-ish. Even in the craziest instants, when things are thrown around or thrown up—the play is a bit unsatisfying. The cast needs to be all-in all the time.

God of Carnage succeeds because it nails the savagery that we all understand. Reza posits that there may not be much of a difference between parks infested with roving gangs of kids or Brooklyn living rooms with cups of espresso and imported rum. She digs under the veneer of modern civilization, and even Veronica, modern civilization’s biggest champion, can’t prevent her passions from slipping out. To insult and question how a person raises their kids is asking for strong responses. But Reza, Snyder, and the cast commit fully to this explosive scenario, and we get to enjoy the fireworks.

Rating: ★★★

(l to r) Michael (Keith Kupferer) tries to rationalize the situation while speaking to Alan (David Pasquesi) Annette (Beth Lacke) and Veronica (Mary Beth Fisher). Photo credit: Eric Y. Exit


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REVIEW: Three Tall Women (Court Theatre)


Three strong women champion Albee’s tale of end-of-life regrets


Edward Albee’s Three Tall Women features Mary Beth Fisher (Woman B), Lois Markle (Woman A), Maura Kidwell (Woman C).  Photo by Michael Brosilow.

Court Theatre presents
Three Tall Women
Written by Edward Albee
Directed by
Charles Newell
Court Theatre, 5535 S. Ellis (map)
through Feb 13  |  tickets: $10-$50  |  more info

Reviewed by Barry Eitel

Edward Albee’s 1994 play Three Tall Women breathed new life into the legendary playwright’s career. Although works like Zoo Story and Who’s Afraid of Virginia Woolf were instant classics, many thought Albee had finished cranking out the good stuff by the 1990’s. The doubters were put in their place with this meditative piece, a half-exorcism, half-eulogy closely linked to Albee’s own experiences with his deceased adoptive mother. Finding himself king of the American absurdism hill again, Albee took home a Pulitzer prize and found receptive audiences for his later plays, which include The Goat, or Who is Silvia? and The Play About the Baby (both of which also garnered many awards).

Mary Beth Fisher (Woman B), Maura Kidwell (Woman C) and Lois Markle (Woman A). Photo by Michael BrosilowThree Tall Women examines a life, but with a fractured and multifaceted lens, Albee’s trademark style. The three women are really only different versions of one, an old former socialite on her deathbed. The woman, a semi-fictional representation of Albee’s own mother, lived a life rife with pleasures and regrets. She came from poverty and learned fast about love and society, and ended up a wife and mother (with heavy doses of infidelity and familial strife). Although the play eschews any neat moral, you leave the theatre with a new comprehension for how the seconds of life tick away.

The first act rolls along slowly. The protagonist, A (the remarkable Lois Markle), sits on her bed, recounting and rambling about her 90+ years of life experience. She is attended on by B (the also remarkable Mary Beth Fisher), who is some type of live-in nurse. Also in the room is C (Maura Kidwell), a lawyer’s assistant intent on getting to the bottom of some financial inaccuracies. The trio trade barbs and gems about life, but mostly they listen to the occasionally incoherent tales of A. Death is a constant presence, but it isn’t the main focus of all conversation. The first act characters dust the inevitability of death under the rug until right before intermission.

Dying, life, and regret become the center of Act Two. A’s condition has deteriorated. She lies in a bed, wired to monitors. However, Albee has the woman—or women—discuss her life in front of the body. A, B, and C are now several personifications of the same woman. C is the 26-year-old girl, B is the embittered 52-year-old spouse, and A is the finale of the woman’s life. They argue, teach, and advise. C can’t believe she becomes B, and B can’t imagine how she transforms into A. Yet they all face death together. The comatose A has a visit from her son (a lineless Joel Gross), which inspires completely different reactions from each incarnation.

Director Charles Newell assembled a shining group of women for his cast. Markle, who was referred by Albee himself, gives a magical, heartfelt performance. Fisher keeps up with her, packing her portrayal of B with sass and vulnerability. Kidwell stumbles in the first act, unable to give C the layers required. However, any young actress is going to look unpolished when placed on-stage with such seasoned performers as Markle and Fisher. But Kidwell picks it up after intermission and holds her own.

In general, the first act feels clunky and languid. Act Two has a completely different energy, and Newell isn’t afraid to try some risky staging. It pays off. The latter half is exponentially more engaging, especially with Fisher’s and Markle’s talents.

It really doesn’t matter much how biographical or fictional Three Tall Women actually is. Albee, Newell, and the cast find universal truths in the woman’s story. We all are going to die, no matter our age now. It is one thing about the future we can be sure of.

Rating: ★★★

Edward Albee’s Three Tall Women features Maura Kidwell (Woman C), Mary Beth Fisher (Woman B), and Lois Markle. Michael Brosilow.


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REVIEW: The Seagull (Goodman Theatre)


Robert Falls allows this glorious ‘Seagull’ to soar



Nina (Heather Wood) listens as Trigorin (Cliff Chamberlain) talks about his obsession with writing and the fame that consequently follows as Arkadina (Mary Beth Fisher) looks on.

Goodman Theatre presents
The Seagull
Written by Anton Chekhov 
Directed by
Robert Falls 
Goodman’s Owen Theatre, 170 N. Dearborn
through November 21  |   tickets: $20-$45  |  more info

Reviewed by Catey Sullivan

With The Seagull, Robert Falls makes a stunning 180-degree swerve from the massive, nearly operatic productions he’s staged over the past few years. If King Lear and Desire Under the Elms were thundering landslides of theatricality, The Seagull is a lone, perfect pebble. Which isn’t to say Falls’ take on Anton Chekhov’s ground-breaking masterpiece lacks the gob-smacking emotional heft of his overtly showier efforts. Far from it. Played by actors in minimal costumes on a bare stage, The Seagull is as thrilling a production as you’re apt to see this season – an example of storytelling at its most powerful. That Falls manages to enthrall without the help of conventional costumes, sets or even lighting design illustrates just how gifted the Goodman’s Artistic Director is.

(clockwise from front center) Konstantin (Stephen Louis Grush) informs Masha (Kelly O’Sullivan), Dr. Dorn (Scott Jaeck), Sorin (Francis Guinan) and Medvendenko (Demetrios Troy) that Nina has returned to town but will not see any of them.Another indication of Falls storytelling prowess: Two hours of The Seagull elapse before the audience is released for an intermission. We’d be the first to cry foul at such a demand. Holding your audience captive for 115 minutes? Not fair. Moreover, since the vast majority of the dialogue within The Seagull seems to deal solely with superficial inanities, such a marathon sit will surely be all but intolerable, yes? In this case, no. Falls and his rockstar cast have captured the emotional truth in Chekhov’s text with a power and a glory that makes the piece fly by. Those first two hours feel like 20 minutes.

The intricate passions of Chekhov’s story are reflected in the sprawling cast, every member of which has their own vibrantly realized emotional life – right down to a cook (Laura T. Fisher) who has but a single line and less than a minute of stage time. When even the ‘bit’ roles are this rich, you know you have an ensemble of extraordinary power.

The action – which is actually mostly dialogue – spans several years and takes place on the country estate of Arkadina (Mary Beth Fisher), a famed, vain actress for whom adulation is an opiate. Much of The Seagull focuses on Arkadina’s tectonic clashes with her angry young son Konstantin (Stephen Louis Grush), a playwright struggling with love and art. The difference between mother and son is akin to the difference between Broadway in Chicago and any number of tiny, Off-Loop theaters. Which is to say: Konstantin, who sees his own art as pure, beautiful and meaningful while dismissing his mother’s shows as pandering tripe.


Arkadina (Mary Beth Fisher) expresses her deep passion and need for Trigorin (Cliff Chamberlain) to stay with her. Masha (Kelly O’Sullivan) seeks to numb her feelings and shut out the rest of the world.
Sorin (Francis Guinan) attempts to comfort Konstantin (Stephen Louis Grush) as he grapples with the complexities of his life. Nina (Heather Wood) performs in one of Konstantin’s plays in front of (l to r) Medvendenko (Demetrios Troy), Shamrayev (Steve Pickering), Polina (Janet Ulrich Brooks), Dr. Dorn (Scott Jaeck), Arkadina (Mary Beth Fisher), Trigorin (Cliff Chamberlain), Konstantin (Stephen Louis Grush) and Sorin (Francis Guinan).

Fisher is glorious, mining both comedy and pathos from a character whose depths are often profoundly superficial.  Grush is perfectly cast as a tortured artist who strives for edginess with the rage of a petulant child who is certain that adults are trivial and adult artists are pandering hacks. In their scenes together, the two are incendiary, a mother and son whose see-sawing love/hate relationship will never find an even keel.

Kelly O’Sullivan’s Masha is equally indelible, a black-clad emo/Goth prototype capable of the sort of gasp-inducing cruelty borne of unbearable sorrow and frustration. In capturing the bitter aesthetic of a woman who knows her life is over at 20, O’Sullivan is also laugh-out-loud funny, blurring the line between tragedy and comedy with such finesse that they become impossible to tell apart. As Masha’s husband, Demetrios Troy continues establishing himself as one of the most fascinating young actors around, portraying the put-upon Medvedenko as the personification of disillusionment and impotent fury borne not of hatred but of love.

And as Nina, the radiant, innocent young woman who is as easily destroyed as the titular bird Konstantin slaughters, Heather Wood makes Chekhov’s overarching metaphor a devastating heart-breaker.

Rating: ★★★★

Konstantin (Stephen Louis Grush) shows his affection for his mother, Arkadina (Mary Beth Fisher), after a traumatic experience.


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REVIEW: Taming of the Shrew (Chicago Shakespeare)

Framed ‘Shrew’ no improvement



Chicago Shakespeare Theatre presents
The Taming of the Shrew
By William Shakespeare with new induction scenes by Neil LaBute
Directed by Josie Rourke
Chicago Shakespeare Theater, Navy Pier, 800 E. Grand Ave. (map)
Through June 6  |  tickets: $44-$75 |  more info

Reviewed by Leah A. Zeldes

Fog spews out over the stage almost ceaselessly throughout Chicago Shakespeare Theater’s new version of The Taming of the Shrew. The play is set in sunny Italy, so why all this London-style mist? It’s emblematic of the hazy thinking that clearly CST_SHREW_IMAGE_1prevailed throughout the creation of this deeply flawed production.

In enlisting Neil LaBute to write a new frame for this broadly humorous but troublesomely sexist play, Director Josie Rourke said her goal was to "create something that would release an interesting and sophisticated debate about what’s going on in Shakespeare’s Shrew [and] make the play more relevant to us now…. What I’m hoping the frame will do is allow us to do the play within its own period but at the same time reminding us of where we are now."

So to reconfigure a play offensive to feminist sensibilities, Rourke hires a man. And his idea of bringing a relevant, contemporary viewpoint to this story about a strong, if bitchy, woman browbeaten into subservient docility by her husband is to introduce a catfight between shrilly vituperative lesbians.

In the frame, which echoes the play-within-a-play format of Shakespeare’s original, we get an unhappy sexual triangle of the Director (a cool performance by Mary Beth Fisher); her long-term partner, the actress playing Katherina (Bianca Amato, turbulent and a little muddy in both roles); and the latter’s latest fling, the ingenue playing sister Bianca (Katherine Cunningham, whose sly performance barely changes from part to part). The Director confronts her partner with infidelity; the actress accuses the Director of trying to control her by casting her in this submissive role.

Just about everything about this production is annoying, from the interminable noisy vacuuming that sets the stage for the frame to the ridiculous conclusion. The lumbering frame promotes the age-old, wrongheaded notions that women have no professionalism or moral fiber, that they’re unreliable and prone to hysterics, and that they’ll do anything for love. Moreover, the new scenes intrude unpleasantly and disruptively into the main show, not least by making it difficult to separate the inner play’s Katherina from the outer play’s actress character.

Having heard the actress in a man-hating tirade against the actor playing her husband and his weakly whimpering response — for all that Ian Bedford does delicious job as Petruchio — it becomes difficult to imagine any sexual tension between the couple. And hot sex is one of the few plausible reasons for Kate’s giving way to her spouse’s abuse.


The huge, waggish codpieces worn by the actors are absurd and amusing in themselves, but added to the frame’s stereotyped intimations that many of these men are gay, they start to present a somewhat ugly picture.

No show at Chicago Shakespeare is ever wholly without merit, however. Rourke has a nice hand with staging. Even my seat far around to stage right had good views of the action throughout, although in a few spots it seemed unnatural, with characters facing away from the people they were speaking to.

It’s always a pleasure to see Mike Nussbaum, and he’s in fine, funny form as Bianca’s rich and wizened old suitor. Other highlights include Sean Fortunato’s wry Hortensio, another suitor; Larry Yando’s aggravated Baptista, the sisters’ father; and Stephen Ouimette and Alex Goodrich as comic servants.

And then there’s the rich language of The Bard — no matter how wrongheaded his plots, his words resonate.

Rating: ★★½

Extra Credit


Review: Goodman Theatre’s “Rock ‘n’ Roll” – triumphantly captivating and celebratory

Goodman Theatre molds Tom Stoppard’s harrowing play into an incredibly human package

Review by Barry Eitel


Pictured in Goodman Theatre's production of Rock 'n' Roll by Tom Stoppard, directed by Charles Newell are (l to r) Timothy Edward Kane (Jan) and Mary Beth Fisher (Esme (older)).

If anyone knows about the transitive power of music, it would be the Czechs. In 1989, the oppressive Communist government of Czechoslovakia was peacefully overthrown in the “Velvet Revolution,” termed after the band The Velvet Underground. The subversive yet inspiring properties of rock music played a major role in bringing democracy to the country.

In his newest play, Rock ‘n’ Roll, produced by the Goodman Theatre, Tom Stoppard depicts the events leading up to the Velvet Revolution. The play begins amid Soviet tanks rolling into Prague to switch out the progressive government, ending the reformative “Prague Spring” of 1968. However, the play does far more than document Czech history; winding over twenty-two turbulent years, Stoppard intertwines the lives of characters that span different nations, political systems, generations, and ideologies. The Chicago premier of the play, directed by the inspired Charles Newell, stuffs all of the love, loss, and intense intellectual debate into an incredibly human package. And with the best soundtrack on-stage right now, the Goodman production leaves plenty of room for a little rock and roll along the way.

Pictured in Goodman Theatre's production of Rock 'n' Roll by Tom Stoppard, directed by Charles Newell are (l to r) Gregory Matthew Anderson (Stephen), Mattie Hawkinson (Alice), Thomas J. Cox (Nigel), Susie McMonagle (Candida), Amy J. Carle (Lenka) and Stephen Yoakam (Max).

Set designer John Culbert transformed the massive Albert Stage into a concert venue, complete with scaffolding and speakers so massive they could make every ear in the audience bleed. The colossal scale of the set matches the epic tone of the play, which can move thousands of miles from scene to scene. In order to switch from location to location quickly, furniture on platforms is rolled out from the wings and sometimes huge pieces are dropped from the flies. Christopher Akerlind’s lighting design accentuates Culbert’s set smartly. All of the design melds brilliantly together—the space seems more like a Bonnaroo stage than the Goodman theatre.

Pictured in Goodman Theatre's production of Rock 'n' Roll by Tom Stoppard, directed by Charles Newell is Timothy Edward Kane (Jan). Rock 'n' Roll begins performances on May 2 (Opening Night is May 11) and runs through June 7 in the Goodman's Albert Theatre. Timothy Edward Kane is an expressive, vivacious Jan, the Czech doctor of philosophy/rock’n’roll fanatic that the play follows. Kane’s performance captures all of the forces tugging at Jan’s psyche as he attempts to balance his ideals, his relationships with those around him, and his harsh reality under the suppressive regime. Perhaps most importantly, Kane bursts with Jan’s intense passion for music. As Jan’s mentor in Marxism, Max, Stephen Yoakam is fiery. It is heart-wrenching to watch as he clutches to obsolete ideologies as his English world, including his family, abandons them as the Cold War thaws. Another stand-out performance is Goodman veteran Mary Beth Fisher, who plays Max’s wife Eleanor and, twenty years later, his daughter Esme. She differentiates and contrasts the generational gap clearly, as well as having some of the most emotional intense moments in the production.

Rock-n-Roll7 Newell nails the theatricality of Stoppard’s play, punching up the classic rock world as much as possible. He uses a mysterious piper (a limber Greg Matthew Anderson) to string the story together, having him weave himself among the scaffolding. The “enlightened” Esme confuses the Robert Smith look-a-like for the god Pan. It turns out the ghostly figure might be Pink Floyd’s estranged frontman, Syd Barrett. But the piper maintains a spritely aspect about him, staying eternally young as everyone else ages. This is just one of many examples of how the production captures the imagination instead of sticking inside realistic world. Newell’s daring stylistic choices really pay off, keeping the play exciting while also preserving the human struggle.

Like most Stoppard, the play is highly intellectual and not for everybody, and occasionally the pace slackens during the debates. But even if you don’t understand the Sappho references or Socialist theory, the vibrant relationships linking the characters are still extremely powerful. The captivating language also maintains a tight grip on the audience, even if some of the content requires a masters degree.

This is arguably Stoppard’s finest work, and the Goodman’s production celebrates both the rock spectacle and the inspiring humanity of the story. The audience is left reminded that our world is constantly warping and flowing, like a deep ocean of ideas, cultures, and human connections.

Rating: ««««



View Tom Stoppards Rock n Roll


Below: Stark differences between “Prague Spring” and the “Velvet Revolution”

Tanks moving in during "Prague Spring", 1968  Policemen_and_flowers

On the left – Molotov Cocktails thrown during the bloody Prague Spring uprising.  On the right, flowers (given to policemen) are used in the peaceful overthrow of the Czech/Soviet Republic in what is now known as the “Velvet Revolution

Review: “Dead Man’s Cell Phone” at Steppenwolf

Jean is a rather dull, introverted woman.  She spends her free-time reading at coffeehouses whilst the world hums and haws around her.  One day, however, while engrossed in a book, a man next to her refuses to answer his cellphone.  After repeatedly admonishing the man to answer his phone, Jean ventures over to his table, and discovers the stunning reason why the phone was not answered – the man is dead.  As this morbid realization overtakes her, the cellphone again begins to ring; Jean answers it.  So starts the beginning of Jean’s madcap, surreal and at times frustrating journey as created and presented by playwright Sarah Ruhl and Steppenwolf Theatre’s associate director Jessica Thebus – a journey that steamrolls Jean from a dinner with the family of the dead guy (Gordon), a tryst with Gordon’s brother Dwight, separate outings with Gordon’s wife and mistress, a zany afterlife detour, and culminating with a tumultuous South African rendezvous with underworld dealers of body-organ smuggling.  Whew!

There is a lot to love in Dead Man’s Cell Phone.  Above all, it’s a fun and unpredictable.  There are times where Thebus has masterfully created truly refreshing and whimsical stage pictures – the most memorable for me being a scene involving Jean and Dwight: as the two lust-birds go at it in Dwight’s stationary store, glowing paper houses appear in the background, and sheets of stationary flutter and weave down from the ceiling.  Why is this happening?  I don’t fully know, but it sure is amusing.  Ruhl’s skillful writing shines most in her coupled dialogues, especially the hilarious interchange with Jean and Gordon’s widow Hermia over cocktails.  Though all of Dean Man’s technical aspects mirror Steppenwolf’s usual mastery, the lighting outdoes itself.  Lighting designer James Ingalls’ use of illumination to showcase the story is especially evident in his glowing houses (see above) and umbrellas and body parts (see pictures below). 

I have a few misgivings with this production.  Most pertinently, the role of Jean (Polly Noonan) seems to be miscast and a bit misdirected.  Jeans presents herself as a single, twenty-something woman, naively zoned-out, part airhead and part manipulator.  But according to the script she’s actually well into her 30’s, which is not how Jean looks or appears.  Adding to this, we’re denied an ending that matches the quirkiness and magic of the rest of the play, which is unfortunate.

Summary: Dead Man’s Cell Phone, despite a few misdials, is an offbeat, boisterous production that lends itself well to Steppenwolf’s usual topnotch output.  Recommended.

Rating: «««

Production: Dean Man’s Cell Phone
Playwright: Sarah Ruhl
Director: Jessica Thebus
Featuring: Molly Regan (Mrs Gottlieb), Sarah Charipar (Other Woman, Stranger), Geraldine Dulex (Ensemble), Marc Grapey (Gordon), Coburn Goss (Dwight), Mary Beth Fisher (Hermia), Polly Noonan (Jean), Ben Whiting (Ensemble) and Marilyn Dodds Frank (Mrs Gottlieb after June 1).
Design Team: Scott Bradley (Scenery), Linda Roethke (Costumes), James F. Ingalls (Lighting), Andre Pluess (Sound and Original Music), Ann Boyd (Choreography) Joe Dempsey (Fight Choreography),
Technical Team: Christine D. Freeburg (Stage Manager), Michelle Medvin (Asst. Stage Manager)
More Info:

Polly Noonan (left) and Marc Grapey (right) in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008.

Polly Noonan (left) and Marc Grapey (right) in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008. 

Coburn Goss (left) and Polly Noonan (right) in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008.

Coburn Goss (left) and Polly Noonan (right) in Dead Man’s Cell Phone

Polly Noonan in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008.

Jean (Polly Noonan) answers the dreaded cellphone

(left to right) Coburn Goss, Mary Beth Fisher, Polly Noonan and ensemble member Molly Regan  in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008. 

Dinner at the Gotlieb’s with (left to right) Coburn Goss, Mary Beth Fisher, Polly Noonan and ensemble member Molly Regan.

– Marc Grapey in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008.

Marc Grapey as the Dead Man.

Polly Noonan in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008. 

Polly Noonan (Jean) with glowing umbrellas. 

Ensemble member Molly Regan in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008.

Mrs. Gotlieb (ensemble member Molly Regan) speaks at funeral. 

Polly Noonan (left) and Mary Beth Fisher (right) in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008.  Photo by Michael Brosilow.

Happy Hour with Jean (Noonan) and Hermia (Mary Beth Fisher). 

Sarah Charipar (left) and Polly Noonan (right) in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008

The Other Woman (Sarah Charipar) and Jean (Noonan) with glowing kidney.

Polly Noonan and Coburn Goss in Dead Man’s Cell Phone by Sarah Ruhl, directed by Jessica Thebus at Steppenwolf Theatre March 27 – July 27, 2008.

Jean (Noonan and Dwight (Coburn Goss) build a paper house.