Rebecca Gilman shows her deftness at writing “slice of life” plays in SWING STATE. In this latest collaboration with outgoing Goodman Theatre Artistic Director Robert Falls, Gilman introduces four characters at a crossroads in a small town in rural Wisconsin during summer 2021. It’s marketed as a play about the pandemic, and indeed, SWING STATE contains some references to the COVID-19 pandemic, masks, and vaccines. Ultimately, though, SWING STATE is a pure character study with the notions of pandemic and extinction of the human race in the background, and notions of mortality and despair in the foreground. Yes, it’s a post-pandemic play, but really it’s just allowing us to peer into the lives of these characters at a moment in time. That’s not to say that Gilman’s play isn’t moving, but I found the overall execution to not be as overarching as the set-up purports. 

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Mercury Theater’s CLUE is a comedic delight of a production. The laughs flow freely and easily in this stage adaptation of the farce-meets-murder-mystery based on the iconic 1985 film by Jonathan Lynn and Sandy Rustin, with new material from Hunter Foster and Eric Price, and original music from Michael Holland. Director L. Walter Stearns’s ensemble lands each and every moment, maximizing the laughs but maintaining the integrity. These actors understand the assignment of both farce and murder mystery: The characters in CLUE take themselves and the outrageous situations of the play deeply seriously, and the ensemble finds the comedy in playing those truths. It’s a near masterclass in how farce should be performed. The fact that the play is only 90 minutes also means the stage adaptation doesn’t overstay its welcome: There’s just enough time to set up the mystery, play the antics, and send audiences home after a delightful, hilarious time.

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