Tue. October 3, 2006
By John Olson
Ah, to be a theater critic or a season subscriber! The things we see that we would otherwise skip. While visiting New York last year, I opted for Doubt over The Pillowman. Frightened away by the latter's graphic descriptions of violent and grisly child abuse I chose the former, which deals with sexual abuse of children, but only the possibility of it. Perhaps that's only a small distinction, but Doubt seemed that it would be easier to bear. When Steppenwolf, whose productions I rarely miss, announced The Pillowman as the leadoff show of its '06-'07 season I knew there would be no shying away from it this time around, and as a result I was exposed to this idea-laden and surprisingly uplifting play.
The action could be occurring anytime within the past or the next 50 or 60 years, and the genius of this production is its believability in whatever times and places we might imagine it. Loy Arcenas's overtly theatrical set places the action at the police station amidst a mostly bare stage, supported by only a few props. Upstage, Katurian's stories are performed on a classical proscenium. Christopher Akerlind's lighting is harsh for the interrogations and dreamlike for the stories, and the costumes of Ana Kuzmanic manage to be both realistic and neutral enough to bring us into a world which McDonagh has defined in only the most general of terms.
A play about unthinkable violence against children will always be a tough sell. This one ran just under six months on Broadway. If enough regional theaters can get The Pillowman in front of their subscribers, these audiences can enjoy the chance to see the potential for legitimate value in shock value.
The Pillowman plays in the Steppenwolf Downstairs Theatre through November 12, 2006. For tickets, visit www.steppenwolf.org or call 312-335-1650.
Photo: Yasen Peyankov, Jim True-Frost and Tracy Letts
Photo by: Michael Brosilow
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