By JOHN BONAZZO
THEATER CRITIC
Martin McDonagh’s The Pillowman delves into some dark places in its depiction of artistic freedom and morality. To their immense credit, FET’s production acknowledges and explores these themes with help from a great creative team and cast.
The play tells the story of Katurian, a writer living in a totalitarian state who is arrested after a string of murders that resemble the plots of his stories. He is interrogated by detectives Ariel and Tupolski, and then thrown into jail with his mentally impaired sister Michaela, who is suspected of helping commit the murders. Their tense exchange ends with Katurian acting on his aggression. After the detectives read his graphic stories (which are relayed to the audience as well), they bring Katurian in for a final confession. He makes Ariel confront her demons, but Tupolski outsmarts him. Despite some final revelations, Katurian is killed, but not before leaving his mark on the world.
This play confronts big topics such as artistic freedom and the ethics of torture head-on and in a smart way. The exploration is not limited to what is discussed, however; the second act begins with a disturbing child crucifixion scene that makes sense in context but will most likely bother some viewers.
Co-directors Tim Bridge and Shannon Morrall make sure the show’s intensity never fades, pacing each scene perfectly. The minimalist set of only a few tables, chairs and props complements the small space on which the action takes place. The stage is lit by one solitary light bulb, which suits the prison-like setting and perfectly modulates the mood.
The show has been cast with some roles gender-blind, and that works really well here. Mike Dahlgren brilliantly shows Katurian’s tortured psyche as he deals with the real world implications of his work. Jonathan O’Neill provides much-needed comic relief as Tupolski, and his second act monologue is a show highlight. Ariel is normally played by a male, but Vanessa Agovida gives her brittle-edged character some much-needed dimension, especially after a revelation in the second act. The character of Michaela, also originally male, runs the risk of being cutesy, but to her credit Hallie Bowen largely avoids these trappings and makes the audience care about Michaela despite her actions.
FET’s The Pillowman allows for a thought-provoking evening in which a tense atmosphere and some great acting augment a larger theme.