Haddonfield Plays and Players’ promotional material for The Pillowman contained a warning that they intended the show for “mature audiences.” When I purchased my ticket on-line I gave my real name. When I picked it up at the box office, I mentioned who I was to the person at the counter. In spite of the management’s repeated assertions that audience members should possess the emotional characteristics of an adult, they still allowed me to attend the show. It delighted me that they chose to be flexible with their policy. I attended the Saturday afternoon performance on May 13th.
Director and set designer Matthew Weil didn’t waste time in establishing the show’s tone. I entered the theatre 20 minutes prior to the start time. The scene that greeted me explained a lot about the “mature audiences” disclaimer. The stage contained a table, a light directly over it and two chairs against a dark background. A blindfolded performer sat in one of them. The dim lights made it difficult to see. Eerie music played in the background. I credit Mr. Weil for this creative use of ambiance. It allowed him to capture the beauty and the horror of Martin McDonagh’s piece before the story even began.
As with his direction of Brighton Beach Memoirs, (also presented by Haddonfield Plays and Players) Mr. Weil utilized an innovative stage set-up. He designed it as a square with one corner pointing to the front of the theatre. By doing so, it allowed performers to get closer to the audience during key scenes. As I sat to stage right of the corner, the angle of vision gave me a similar perspective as the protagonist when the detectives questioned him. That allowed me to empathize with the main character and really get into the story during the interrogations.
The story centered on a writer named Katurian (played by Michael Pliskin). Without understanding the reason, two police officers Tupolski (played by Michael Doheny) and Ariel (Ryan Ruggles) entered the room and began questioning him. The mystery deepened when they asked about his fiction; with particular emphasis on the ones that included child killings. They explained that someone murdered two children in a similar fashion to those described in his stories. To add to the tension, they held his mentally deficient brother Michal (played by Andy Spinosi) in the next room. They threatened to harm him if Katurian didn’t cooperate.
The story contained philosophical undertones that would’ve impressed Aristotle. As Mr. Weil wrote in the playbill:
Camouflaged in this gripping piece of theatre are a series of meditations on the nature and existence of art. Is art capable of corrupting? Does it feed off suffering? Should writers be brought to task for dealing in violence and child abuse? Is the artist responsible for the consequences of art? What is or should be the relationship between art and politics?
Michael Pliskin delivered an impassioned performance as Katurian; with emphasis on the word impassioned. The role demanded a range of emotions from the performer. During the interrogation scenes he captured the character’s confusion and terror. Tears came to his eyes when expressing his affection for his brother. Mr. Pliskin impressed most with his skill as a story teller. In several scenes he recited stories written by Katurian. Mr. Pliskin’s awe inspiring deliveries made them much more interesting and entertaining than they would appear on the written page. It would’ve been a very satisfying evening if the show consisted of him only doing that.
In some ways similar to Lenny in Of Mice and Men, the ‘Mikal’ role challenges thespians to perform it credibly. Andy Spinosi animated the character exceptionally well. In addition to enacting Michal’s complexities, several times he did an excellent imitation of Katurian from his character’s perspective.
Michael Doheny and Ryan Ruggles delivered a remarkable take on the good cop / bad cop dynamic. A comedic performance is difficult; getting laughs with dark humor is much harder. Through their skillful interpretations, these two gifted performers made it appear facile; quite a feat with the nature of the story.
Jonathan Greenstein and Marissa Wolf each delivered terrifying performances as the Father and Mother. The two presented their roles like more frightening caricatures of Edward Gorey characters. I especially enjoyed Ms. Wolf’s evil laugh. Having to sleep with the lights on for a few nights is a small price for watching these two exceptional renditions.
Sara Scherz returned to the Haddonfield Plays and Players stage as the girl from Katurian’s “The Little Jesus” story. Aside from the usual challenges of getting into character, this role contained some added physical efforts, as well; and not just speaking in-synch with Mr. Pliskin. Ms. Scherz managed all these intricacies flawlessly.
I had one criticism regarding the script. I found it ironic that a story centered on a writer contained some very poor writing. The dialog contained A LOT of repetition. Several times in the opening scene Tuploski and Ariel repeated each other’s lines back-and-forth. That annoyed me. The second act opened with Michal repeating various things Katurian said to him. That annoyed me even more. Michal then spoke about his “itchy ass” numerous times. At that point I actually thought about leaving.
Listening to the same lines of dialog repeated verbatim over and over just strains my patience and wastes time. In fairness to Mr. McDonaugh, he did include some excellent writing; particularly in the form of Katurian’s prose. The playwright added pauses at effective times, too. With these techniques in his creative arsenal, I didn’t understand the need for characters to keep repeating the same lines.
I expressed my concern about Haddonfield Plays and Players “maturity” requirement to my friend, the esteemed actress and director, Lisa Croce. She suggested I act like I possessed the emotional intelligence to attend the show. To which I replied, “If I was that good an actor, I’d be on stage.” Well, I may have gotten in to see the show, but the skills of the cast far exceeded my meagre abilities. They delivered impressive performances of challenging roles in a very difficult play. No doubt, Mr. Weil’s tutelage contributed to that effort. That’s no fluff. The Pillowman meets the same fate as many of Katurian’s characters after May 20th at Haddonfield Plays and Players.