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
(map)
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: Timeline Theatre’s “All My Sons”

Timeline tackles Miller with outstanding results.

All_My_Sons2

Timeline Theatre presents:

All My Sons
by Arthur Miller
directed by Kimberly Senior
Greenhouse Theatre Center 
Running thru October 4th (buy tickets)

 Reviewed by Oliver Sava

All_My_Sons5 Timeline’s All My Sons is a beautiful, haunting piece of theater. Arthur Miller‘s masterpiece is the story of the Keller family, rocked after the disappearance of son Larry during World War II and patriarch Joe’s (Roger Mueller) trial for shipping defective airplane parts that led to the death of 20 pilots. When Larry’s brother Chris (Erik Hellman) invites Ann (Cora Vander Broek), Larry’s sweetheart, to the Keller house to propose to her, tensions rise as mother Kate (Janet Ulrich Brooks) interprets the gesture as a confirmation of Larry’s death. Meanwhile, Ann’s brother George (P.J. Powers) arrives with shocking revelations from the man that went to jail for Joe Keller, their father.

Exquisitely directed by Kimberly Senior, the cast captures the sense of family that is essential to a successful production by finding a comfort with each other that allows the language to flow naturally. The rhythm of Senior’s production is like a heartbeat: when the stakes are high the show moves at a rapid pace, taking the audience on an emotional sprint as the characters watch their world collapse, but there are also quiet moments when the actors can slow down and absorb the changing circumstances around them. Silence is used remarkably well, such as when Chris struggles to find the words to express his love for Ann (or does he know the words and is afraid to say them?), and when these pauses are broken, intense reality rushes in to fill the gap. The perfect balance of these moments is what ultimately makes the production so captivating, mimicking the diversity of the everyday.

All_My_Sons3Janet Ulrich Brooks shows why she’s been nominated for two Jeff Awards this year with her portrayal of the delusionally optimistic Kate, perfectly capturing the pain of a mother’s loss underneath a facade of hopefulness. From the moment she takes the stage, Brooks exudes a welcoming presence that pulls the audience firmly into Miller’s world, and it is no surprise when she is able to calm the infuriated George and make him feel like a child in her home again. Brooks seems to bring out the best in her costars, and the scenes that she shares with Mueller are bristling with the chemistry of a couple that has been married for decades.
In the earlier scenes of the play Mueller and Hellman establish the father/son dynamic that lies at the heart of All My Sons, a relationship that revolves around their understanding of war and what it means regarding their missing family member. Hellman plays Chris with a youthful exuberance, but underneath his calm exterior is a man that is haunted by the death he has seen, and caused, in his short life. Conversely, Joe lives in a semi-denial regarding the amount of responsibility he had with the defective airplane parts, and when these two characters’ vastly different emotional states come out in full force the results are explosive.

All_My_Sons6Initially, Cora Vander Broek‘s Ann does not seem to fit in with the rhythm that the company has created. She speaks with a calm confidence that is a stark contrast to the other women in the play, but when she consoles Chris as he confesses his survivor’s guilt, it becomes apparent why Ann is different: she has control. Surrounded by women that have chosen to be subservient to the men in their lives, Anne refuses to compromise for what she wants, and the strength of her convictions ultimately leads to the play’s tragic conclusion. The only person that is able to put a dent in Ann’s steely demeanor is her brother, and Powers plays George with just the right mix of compassion for his sister and disdain for the Kellers so as to never make him seem malicious.

Timeline can proudly add another success to their already hefty list with All My Sons. From the fabulous cast, including the heretofore unmentioned neighbors that establish the world around the Keller home, to the revelatory direction, Miller’s classic is done the justice it deserves. Just ask all the audience members reaching for their tissues at the end of the show.

Rating: ««««

 

View Arthur Miller's -All My Sons- at Timeline Theatre

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