Redtwist's 'PILLOWMAN' Embodies Everything Good Theatre Should Be

After 20-some years of attending live theatre, two specific experiences have brought out emotional & visceral reactions of exclamatory dread and theatrical joy: the first being the Broadway production of Martin McDonagh's THE PILLOWMAN at the Booth Theatre in 2007. The second occurred Friday night at Chicago's Redtwist Theatre's production of the same play. Both spectacularly designed, cast, and acted, but polar opposites in size and scope. Nonetheless, each were phenomenally in tune with their representation of McDonagh's wildly thought-provoking play.

Smart people producing a smart show? Sounds good to me.

As soon as you walk into Redtwist's Andersonville space, set designers Anders Jacobson & Judy Radovsky, lighting designer Christopher Burpee, and sound designer Christopher Kriz immerse the audience into a dank and cramped bunker. Aided by McDonaugh's purposely vague context, no discernible clues help give a time or location beyond the cell's surrounding walls. With only 30 seats filling the audience along the gangway stage and my crossed legs (a maneuver I quickly dissolved) covering a small portion of the playing field, it felt like attending an experimental Fringe Fest performance rather than a Tony Award winning Broadway play. A fact, along with director Kimberly Senior's gentle but smart direction, which highlights THE PILLOWMAN's engrossing script and Redtwist's finely tuned actors.

Set in an unknown totalitarian state, THE PILLOWMAN focuses on the interrogation of short story writer Katurian (the soft-spoken yet show-driving Andrew Jessop) by police officers Tupolski (the calm Matthew Krause) and Ariel (powder keg Johnny Garcia) about the recent gruesome murders of three children. Light stuff, eh? Krause and Garcia successfully play up their good cop/bad cop personas, though McDonagh's smart comedy is toned down -sacrificed?- for a calmer, cooler inside voice approach. A fact which makes this production less "haha!" funny and more "voyeuristically awkward." As if, if you laugh too hard, Ariel's gun could be pulled on you. It's exhilarating.

Exhilarating still is standout Peter Oyloe's portrayal of Michal, Katurian's mentally handicapped brother and, arguably, the play's most challenging role. Oyloe's nuances inside such a complex character is thrilling, proving the kind of dedication Chicago store fonts' have in finding the best of the best. His and Jessop's scene in Michal's cell beautifully runs the gambit of unnerving to heartbreaking.

Kudos must be given to the cast for tackling -literally- Stephen James Anderson's fight design. While Redtwist's space is teeny tiny, the violence is not. I wouldn't doubt Jessop and Oyloe will walk away from this run with nothing short of Patty Duke/Anne Bancroft MIRACLE WORKER scars and bruises. While its strong language and sometimes disturbing subject matter may not be for everyone, I cannot recommend this production enough. It's raw, it's edgy, and what is has to say about responsibility and art makes THE PILLOWMAN enthralling to watch. Redtwist's THE PILLOWMAN is Chicago theatre at its finest.

PHOTOS: Clarissa Jessop

THE PILLOWMAN, now in its 4th extension, runs now though Friday, May 15th at the Redtwist Theatre, 1044 W. Bryn Mawr. For tickets. please call 773-728-7529 or visit www.redtwist.org.

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