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Dead Man’s Cell Phone
By Sarah Ruhl
Directed by Jessica Thebus
At Steppenwolf Upstairs Theatre
1650 N. Halsted
Chicago, IL
Call 312-335-1650, tickets $20 - $68
Tuesdays thru Sundays at 7:30 pm
Saturday & Sunday matinees at 3 pm
Wednesday matinees at 2 pm on June 25
July 2, 9, 16 & 23
Running time is 2 hours with intermission
Through July 27, 2008
Intriguing, provocative and poetic drama awaits at Steppenwolf Upstairs Theatre
Sarah Ruhl’s (The Clean House, Passion Play, Melancholy Play) newest play, Dead Man’s Cell Phone, contains her rich poetic language filled with quirky multiple meanings and phrasing that are playful. This play is part mystery, and part “what if,” with some fable in a naturalistic setting. The play has an electronic character (a cell phone) that is a portal into a person’s life. Ruhl demonstrates how much an extension of our lives cell phones have become.
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When a lonely, nerdy 39 year old single woman, Jean (Polly Noonan), sitting in a coffee shop becomes irritated when the man at the next table’s cell phone keeps ringing, she answers it as she quickly discovers that he is dead. She instantly decides to enter his life through his cell phone. She confiscates it. This portal is her escape from her dreary life. Her desire to make a connection to this man overwhelms her as she becomes obsessed with learning about him. Why she does that unfolds on several levels that becomes more than simply her desire to connect with an unknown man. Curiosity? Loneliness? Or does Jean want to find a new life spirit or purpose?
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She answers the cell phone and learns about Gordon’s family. She meets Mrs. Gottlieb (Molly Regan), Gordon’s weird mother and his brother, Dwight (Coburn Goss) and his widow, Hermia (Mary Beth Fisher). She gradually learns about Gordon as she invents lies that comfort each relative as to what Gordon said about each just before his death. We know that Gordon never spoke a word to Jean. It seems that she has a need to help these folks remember Gordon in a positive, loving light. Playwright Ruhl develops memorable characters and gives each some sharp dialogue, especially Hermia and Mrs. Gottlieb.
Act two opens with a brilliant comic monologue wherein Gordon (Marc Grapey) tells us his story and about his unique profession as a body parts broker matching donors with needy patients for large fees. This sardonic and amoral man unfolds as a most unlovable soul. Only Jean has some empathy for this guy. Jean has developed a passion for the equally lonely Dwight.
Without giving away too much of the plot, let me state that fantasy and incredulous twists send this provocative drama into a strange resolution that will offend some. Dead Man’s Cell Phone contains a linguistic paradox where the dead continue to exist through his cell phone. The after life and the black market also figure into the scenario.
I enjoyed this fascinating work which could use some tightening and a clearer focus. It contains several richly textured speeches and memorable characters. Polly Noonan, as Jean, has the baby-talking vocal tones and the innocence. Mary Beth Fisher’s Hermia and Molly Regan’s Mrs. Gottlieb are strongly jaded women. Marc Grapey was excellent as Gordon and Coburn Goss’ Dwight was effective. Director Jessica Thebus’ use of yellow umbrellas and miniature house as symbols were baffling. Dead Man’s Cell Phone is a play that grew on me as it moved forward. Ruhl’s layers of meaning impacted me. The play makes a case for the effects of cell phones on our lives. Thank God I’m still resisting getting a cell phone.
Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: April 5, 2008
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