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Regional Reviews: Chicago Gary: A Sequel to Titus Andronicus Also see Richard's review of At the Wake of a Dead Drag Queen and Christine's review of Berlin
In the press kit the show had a preliminary estimate of its run-time at 95 minutes, and in the program that estimate was down to 90. But it was more like 88 minutes when I saw this new, otherwise fine revival, compared to the original which I seem to remember ran somewhere closer to 100 minutes' length when I saw it on Broadway in 2019. It ran at the Booth Theatre for 110 performances, including previews, and was nominated for seven Tony Awards. This production is only occasionally louder. But it's a lot faster. And still, on the whole, satisfyingly funny. Although a few of the implied, strange, introspective questions of identity, and maybe one or two of the big ideas, have been tossed away like scraps from a meat pie. But that could be up to 720 seconds' (according to my automated assistant) worth of rueful regret, bemused salvation, and the like that may have fallen by the wayside. And the maddening pace is not just from any sort of random "year 400 AD-jitters," but very specifically from the terror of the day before: when Shakespeare's bloodiest play ends with a mutual slaughter of Romans and Goths. The three survivors, the cast of Gary are suddenly, just barely, on the other side of all that. And yet quaking from fear, or staring in disbelief, or waiting around for sympathy for a foolish life amounts to a very tiny percentage of the actors' time in this staging. Then again, nearly half of those 720 seconds in New York were squandered at the very end, on (or slowly setting up) the dead soldiers' dance finale the night I went, nearly six years ago. None of that's included in this new version, which actually does better without the row of undulating beefcake men hanging from an overhead beam. In fact it's a ghastly, funny splatter-fest with bloodied man-sized rag dolls everywhere, in a long, narrow "in the round" production. One great section begins when the crown of the dead king is placed on the head of the senior maid, played by Hannah Rhode (as Janice), magically transporting her into the seat of mad power. And Gary is a triumph in stagecraft. I once declared to a friend that it would never tour because of all the very specific anatomically correct man-sized rag dolls and bodily fluids (watch for big towels under your seat, it's a warning!) and tubes and goo and severed limbs. But all of the technical aspects in this month-long production are excellent, with special mention going to Eric Luchen and Robin Manganaro for set and props. William Delforge is intently, intellectually nuanced as Gary, but speaks exceedingly trippingly in the role of a street clown promoted to cleaning lady for the course of the show. The snarling senior maid Janice, who's seen it all before ("You don't know how old I am!") is played by the vibrant and comically intense Ms. Rhode, who keeps up with Mr. Delforge every step of the way. And the horrified Carol, a midwife, is played by Cameron Austin Brown, with a can-do spirit and very fine comic insight. They may all be a bit too young for some of the script's brutal disillusionments, compared to the 2019 original at any rate. Very good sound design by Dusty Brown, and Piper Kirchhofer's lighting is great, very elaborate, and allows for instant changes of mood to conform even to the speed of line delivery. But the play, with all its big ideas about life and death and power and absurdity, and with some fascinating reversals, still deserves occasional time to breathe. Gary: A Sequel to Titus Andronicus runs through June 1, 2025, at Redtwist Theatre, 1044 W. Bryn Mawr Avenue, Chicago IL. For tickets and information, please visit www.redtwisttheatre.org Cast, in order of appearance: Understudy Cast performances: May 15th and 25th Production Staff: * Denotes Redtwist Ensemble Member |
