Watching Artistic Director Robert Falls’ production of Henrik Ibsen’s play AN ENEMY OF THE PEOPLE is an eerily prescient experience. Though Ibsen wrote ENEMY in 1882, much of the dialogue (adapted by Falls from a translation by Eleanor Marx-Aveling) feels like it is purely 2018 parlance. And, of course, the issue at the play’s heart (really, the only issue in the piece) is a bitter battle between Dr. Thomas Stockmann, who discovers the town’s water is poisonous, and his brother Mayor Peter Stockmann, who wishes to hide that truth at all costs. ENEMY’s script is undeniably pointed—among others, the phrase “fake facts” is used. Yet that seems to be precisely the argument that Falls is making: this is an on the nose production for an equally pointed moment in time.
Month: March 2018
Yesterday American Theater Company announced that it was shutting its doors after 33 years. Under the direction of late Artistic Director PJ Paparelli, American Theater Company made its name as one of the most groundbreaking and well-regard storefront theaters in Chicago. Among other productions, ATC staged the world premieres of Ayad Akhtar’s Pulitzer Prize winner DISGRACED and Stephen Karam’s THE HUMANS.In ATC’s most recent era, Artistic Director Will Davis staged innovative pieces with a clear and unique vision.I have many fond memories of seeing productions at ATC, and below are some of my favorites. Farewell, American Theater Company. Chicago will miss you dearly.
Under the taut direction of David Schwimmer, Kevin Douglas’s new comedy PLANTATION! succeeds in making audiences both laugh out loud and cringe. In PLANTATION!, Douglas explores one wealthy white woman’s attempt to make reparations for the benefits her family reaped from slavery. Douglas does so by posing the question: Does making amends actually work? And for whom does making amends actually benefit? The twist in PLANTATION!, however, is that these serious questions are explored almost entirely through the lens of broad, dramatic, zinger-filled satire. The all-female cast succeeds in landing each and every joke in this production, which brings the broadly comic nature of Douglas’s writing to the forefront.