Extensions: The Cabinet, Pillowman, Harper Regan, The Long Red Road

cabinet 

The Cabinet  – extended through April 4th

Redmoon Theatre has announced an extension of their haunting and surreal production. The Cabinet,originally slated to close on March 7th, has now been extended through April 4th.  Tickets are available online or by calling (312) 850 – 8440. (Read our review ★★★½)

 

 

   

PmanLogo600 Pillowman – extended through March 16th

Due to popular demand, Redtwist Theatre’s smash hit Pillowman, by Martin McDonagh and directed by Kimberly Senior, has extended its run through March 16, 2010, with a further extension imminent (fyi: Pillowman has been running strong since November 2009!).  All performances at the Redtwist blackbox space, 1044 W. Bryn Mawr.  Tickets, priced at $22 – $27, are currently on sale.  (See our Pillowman review here ★★★)

 

   

Harper Regan – extended through March 28th

On Thursday, January 21st, the Steep Theatre’s U.S. premiere of Simon StephensHarper Regan opened. Word hit the street by Friday and the first reviews hit the stands Saturday morning. By noon on Monday the 24th, every performance of the six-week run and the one week extension had sold out.  In response to this terrific demand, Steep has announce additional performances of this smash hit. An unprecedented 16 performances have been added to this already extended show – now running through March 28th.  For ticket info here. (our review here)

   

 

LongRedRoad_poster The Long Red Road extended through March 21st

Due to high demand for tickets, Goodman Theatre has extended its world-premiere production of The Long Red Road, a new play by Brett C. Leonard, directed by Philip Seymour Hoffman, by one week—now running February 13 through March 21, 2010. The cast of six remains intact for the extension week, including London’s stage and screen actor Tom Hardy, as well as Marcos Akiaten, Greta Honold, Chris McGarry, Fiona Robert and Katy Sullivan.

 

   

 

REVIEW: Harper Regan (Steep Theatre)

Kendra Thulin shines in U.S. premiere

Harper 3 

Steep Theatre Company presents:

Harper Regan

 

By Simon Stephens
Directed by Robin Witt
Through Feb. 27 (ticket info)

reviewed by Leah A. Zeldes

My long-suffering husband, whose theatrical taste runs to comedies and musicals, tends to react to the odder dramas I drag him to with a question, "Why did they produce this play?"

I can’t answer on behalf of Steep Theatre Company, whose U.S. premiere of the quirky, dysfunctional-family drama Harper Regan is one of a raft of British plays in Chicago this season, but I can make some guesses. One is that Simon Stephens is one of England’s hottest playwrights, and the chance to introduce one of his newer works — "Harper Regan" premiered in 2008 at London’s National Theatre — had to be very Harper 1tempting. Another is that it has three very juicy roles for women and a lot of other parts that could be doled out to ensemble members. (Having grown accustomed to the shrunken casts of these straitened times, it’s refreshing to see a different actor for every part in a play, though several male roles might easily have been doubled.)

Exquisitely acted and painstakingly directed as it is, however, Harper Regan may be more satisfying for its cast than for audiences. The plot follows the breaking up or breaking out, depending on how you look at it, of Harper Regan, 40-ish, middle-class and troubled. Her father is dying, her boss is a creep, she hates her job, her husband’s out of work, she’s not getting along with her 17-year-old daughter, they had to move from her northern England hometown to unfamiliar suburban London, she’s not speaking to her mother, and she is deeply insecure.

In an exceptional performance in the title role, Kendra Thulin shows us Harper’s discomfort and self-doubt in every line of her body, cringing and hesitating as, having asked her supercilious employer (Alex Gillmor) for time off to visit her ailing father, she listens to his hectoring refusal. Later, apologizing to her daughter for some sharp words, she says, "I’m so weird, aren’t I?"

Harper 2Caroline Neff is intense and believable as Harper’s nerdy, conflicted daughter, more comfortable with her iPod than her mother. Chelsea Warren’s costumes, notably for Harper and her daughter and mother, show a fine attention to detail.

Act I lags somewhat as the initial facts of Harper’s life slowly emerge, mostly in talky monologues and peculiar conversations she has with unsettling strangers. At last, she leaves home, not telling anyone she’s going. In Act II, we get more disturbing revelations: Why her husband can’t find work. Why they had to move. Why Harper and her mum are at odds. And, most importantly, we see that Harper is even weirder and more unstable than she seems.

Melissa Reimer puts in a strong performance as Harper’s estranged mother. Peter Moore performs sensitively as her down-and-out husband. Curtis M. Jackson is realistic as a teenager she meets near home, while Dan Flannery seems stiff as an older man she encounters during her time away. Julia Siple, Jonathan Edwards, Brendan Melanson and Adam El-Sharkawi fill out the cast.

Marcus Stephens’ stark, leaf-strewn concrete set echoes the harshness of Harper’s world, yet seems inappropriate for many of the indoor scenes, among many off-kilter aspects of this unlikely psychodrama.

 

Rating: ★★½

 

Notes: Adult language and themes.  All photos by Lee Miller

WITH ENSEMBLE MEMBERS Jonathan Edwards, Alex Gillmor, Brendan Melanson, Peter Moore, Caroline Neff, Melissa Riemer and Julia Siple
AND Adam El-Sharkawi, Dan Flannery, Curtis Jackson and Kendra Thulin
PRODUCTION MANAGER Julia Siple* STAGE MANAGER Jon Ravenscroft SCENIC DESIGN Marcus Stephens LIGHTING DESIGN Brandon Wardell COSTUME DESIGN Chelsea Warren COSTUME ASST Gwen Smuda SOUND DESIGN Matthew Chapman PROPS DESIGN Jesse Gaffney DIALECT COACH Eva Brenneman DRAMATURG Gemma Hobbs            *denotes company member