REVIEW: Madagascar (Next Theatre)

     
     

Flight and fright in a Roman hotel

     
     

Mick Weber and Carmen Roman in a scene from 'Madagascar' by JT Rogers, now at Next Theatre, Evanston

  
Next Theatre presents
  
Madagascar
  
Written by J.T. Rogers
Directed by
Kimberly Senior
at
Noyes Cultural Center, 927 Noyes, Evanston (map)
through Feb 20  |  tickets: $25-$40  |  more info

Reviewed by Lawrence Bommer

Now in an absorbing but ultimately frustrating Midwest premiere, J.T. Rogers’ 2004 puzzle play employs three characters who deliver concurrent confessions in the same stripped-down hotel room overlooking the Spanish Steps in Rome. They speak from different times and the subject of their unmotivated outpourings gradually becomes the strange vanishing of Gideon. A scion of wealth and privilege, this attractive young man went to Madagascar on a mission that may have ended in disappearance or death.

Nick Weber, Carmen Roman and Cora Vander Broek in a scene from "Madagascar" by J.T. Rogers - Next Theatre, EvanstonThe testimony is supplied by Lilllian (Carmen Roman), Gideon’s wealthy and detached mother; Gideon’s sister June (Cora Vander Broek), now working as a tour guide for the ancient ruins, and Lillian’s adulterous lover Nathan (Mark Weber), who is also an economist like the boy’s now-dead dad.

As they give themselves away, they provide clues about Gideon, an enigmatic beauty who seems to have been altogether too sensitive to the world’s wrongs; especially his mother’s coldness to him and warmth to Nathan.

Gideon’s discovery that his life was built on a lie (about his mother’s fidelity, his sister’s affection, Nathan’s loyalty to his father, or some schoolgirls recently raped in Africa?) seems to unhinge him and sets in motion a train of tragedies. Why is he so upset? “Because people just can’t be trusted!” and his mother is “selfish” and “grotesque.” Gideon sounds like a poor man’s Hamlet.

Sean Mallary’s lighting changes and the choreographed confessions blocked in Kimberly Senior’s staging keep the clue-mongering fluid and forceful. The play repeatedly raises the fascinating question of why some driven people all but will themselves to be missing persons. Do we have the right to disappear? Or do we owe it to others to keep our identity intact, however wrong it feels within?

Still, there’s too much deliberate or perverse mystery-mangling in this torturous witness to an escape that remains maddeningly evasive. There are too many blanks for the audience to fill in without finally feeling that the playwright hasn’t played fair with the facts.

Roman brings magisterial command to this ultimately devastated mother. Vander Broek’s questing sister, Gideon’s fraternal twin, gives us a refracted portrait of her brother. Weber’s Nathan supplies metaphors from micro-economics that shed a little light on the motivations or mentality of the missing Gideon.

If only this complex kid had appeared, we’d get some closure or at least an illusion of completion. But if you like to spend two hours not solving a missing person’s case, Madagascar is your ticket to nowhere.

  
  
Rating: ★★
  
  
Mick Weber and Carmen Roman in a scene from 'Madagascar' by JT Rogers, now at Next Theatre, Evanston Scene from Madagascar by JT Rogers, now at Next Theatre, Evanston 5

Scene from Madagascar by JT Rogers, now at Next Theatre, Evanston 7

 

   
   

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