Actor’s Theatre digs dark thriller
Review: ‘Pillowman’ strikes a nerve
by Jonathan Reed
jonathan@thecharlotteweekly.com
Author and academic par excellence Umberto Eco once explained that the first third of his famed “The Name of the Rose” was written with excruciating pacing to challenge the reader and confer a sense of the life monastic.
The opening scene of Martin McDonagh’s compelling and disturbing “The Pillowman,” which Actor’s Theatre of Charlotte is staging through Dec. 1, may not have been composed with that sentiment in mind. But the heightened paranoia and tortuously long introduction to the principal characters certainly sets the tone for the simultaneously engaging and repulsive battle of wits that ensues.
Since a true plot synopsis only would lead to expectations—and this production is best entered blindly—all you really need to know is that “The Pillowman” is set in a totalitarian state, and the action revolves around an investigation of child murders whose only clues are the grim fairy tales of author Katurian. Interspersed with the interrogation of Katurian by detectives Tupolski and Ariel are readings from Katurian’s shocking oeuvre, a couple are even staged.
Credit director Dennis Delamar for coaxing brilliant performances from his principals. Billy Ensley elevates his art with a wrenching portrayal of Katurian, and the good cop-bad cop dynamic is played to the hilt by Brian Robinson (as Tupolski) and Rob Simmons (as Ariel). Robinson’s straight-man depiction drives home the comic relief in McDonagh’s script, while Simmons navigates Ariel’s transformation in the second act with an emotional depth that might catch you off guard. Chip Decker’s turn as Katurian’s brain-damaged brother comes close to stealing the show.
In spite of its often disturbing content (from beatings to murders both implied and onstage to prolific use of explicit language), “The Pillowman” make the most of its black comedy, from the quip-filled first scene to the funny-though-shocking depiction of one of Katurian’s tales that opens act two. The laughs come in stark contrast to the grander themes of children as products of their upbringing, the responsibilities of authors for what their work inspires, and the desire of artists to leave something behind for future generations.
Delamar never lets his audience forget the “dark” in this dark comedy, utilizing heavy metal orchestra soundtrack before and between scenes that gives the entire production the appropriate funereal feel.
Delamar’s staging of this award-winning thriller (an Olivier Award in 2004 and, later, two Tony Awards) challenges the audience to endure the torturous imagery so they can leave both shell-shocked and redeemed, much like Ariel at the end of the play. Some brilliant set design adds to the warped world-view, and without the right actors, this play easily could have fallen flat on its bloodied face.
