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Passion Play
A Cycle in Three Parts
By Sarah Ruhl
Directed by Mark Wing-Davey
At the Goodman Theatre
170 N. Dearborn
Chicago, IL
Call 312-443-3800, tickets $20 - $70
Wednesdays at 7:30 pm
Thursdays at 1:30 & 7:30 pm
Thursdays at 7:30 pm
Fridays & Saturdays at 8 pm
Sundays at 1:30 & 7:30 pm
Special Tuesday, Oct. 9 at 7:30 pm
Running time is 3 hours, 30 minutes with 2 intermissions
Through October 21, 2007
Overly ambitious, unsettling Passion Play trilogy unfolds as a most thought provoking epic
After spending over three and a half hours with Sarah Ruhl’s Passion Play, a cycle in three parts (at the Goodman Theatre), I was so overwhelmed that I had to take a long walk on the beach that night to sort out all the high drama, passion and ideas contained in this epic. Seldom have I been as ambivalent about a play as I am about this one. There is so much happening in Passion Play that I could justify writing a most negative review, yet I could also find so much to admire and appreciate that I could justify raving about the play. My feelings about this show run deep. For sure, Passion Play is a recommended show—one that serious theatre patrons need to witness even at the risk of not liking it. So let me be clear here—the sheer theatrics and the ambitious effort to commingle politics, religion and morality into a compelling story (however flawed) and theatrical event renders Passion Play worth seeing. That said, I must tell you about the achievements and flaws in this most original spectacle.
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Sarah Ruhl’s structured Passion Play in three part—1575 Elizabethan England’s Passion Play; the Oberammergau Passion Play in Bavaria 1934 and the Passion Play in Spearfish, South Dakota in 1969. This allows for Ruhl to trace the connection between the actors (many of which are amateur local citizens), their religion and politics of each era. Many of the players take on the persona of Jesus, Mary and Pontius Pilot, etc. in their daily lives hinting that mixing theatre, religion and social morality over lap immensely. Ruhl marvelously weaves those elements in a spectacular saga filled with humor, raw sensuality and fervor.
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In act one, set in 1575 England, I was perplexed at the use of Irish brogues that seemed to vary in accuracy. I also found the frontal nude scene where the carpenter disrobes in front to the audience to be gratuitous. Act one sets the tone of complex and, at times, uneven presentations of multiple themes. We see the villagers as zealots living out their beliefs through the Passion Play. Director Mark Wing-Davey keeps the complicated show flowing. The “village idiot” (Polly Noonan in a terrific comic turn) underscores and gives voice to non-actors and outcasts in the village. The symbolism of John the fisherman is exemplified by a larger-than-life fish parade dream sequence. The appearance of Queen Elizabeth I fuels her anti-Catholic witch hunt. The conflicts of those with strong religious beliefs are acutely dramatized here.
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Act two, set in 1934 Bavaria, Germany just as Hitler completes his dominance of Gerrmany, allows Ruhl to picture the basic German anti-Semitism as the Oberammergau Passion Play unfolds. We see a German officer (John Hoogenakker) trying to seduce the lady playing Mary (Kristen Bush). He also discovers that Eric (Joaquin Torres) and the Footsoldier (Brian Sagambati) are gay lovers. We see that the Passion Play has patriotic meanings as well as a vehicle of discrimination and hatred. The interwoven conflict of morality and the state are emphasized in act two.
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Act three finds the Passion Play being done in rural South Dakota in 1969 during the Viet Nam war. Here Ruhl tackles anti-war themes with a confusing entry of Ronal Reagan attending the Passion Play while running for re-election. Problem: the act is set in 1969 and Reagan was President from 1981-89 and he ran for re-election in 1984. I’m not sure why Ruhl uses Reagan here since it isn’t clear when the play jumps to 1984, if it does? By the way, T. Ryder Smith was terrific as Queen Elizabeth, Hitler and Reagan. Sarah Ruhl denies that she was trying to equate the three world leaders. Act three blends adultery, personal mutilation and anti-war themes with a caricature of modern American Presidents as more actors than statesman.
I think the following quote from playwright Sarah Ruhl is apt: “I feel that the play is kaleidoscopic, so it should have something for people on any end of the ideological spectrum.” I believe that Passion Play is about the relationship between politics and theater and religion and theater. Perhaps, Ruhl paints too broad a picture and tries to cover too many themes and she tries to tell too many stories, perhaps? I appreciate the sheer effort that mostly works. After all, theatre should always stretch to reach new heights. Ruhl establishes her vision deftly. Kudos to her chuptzah.
Allen Moyer’s movable wooden set on James F. Ingalls’ fine lighting design with Ruppert Bohle’s projections gave the play an eerie epic look. Nicole Wiesner and Kristen Bush gave excellent performances as the ‘Mary’s’ while Polly Noonan was brilliant as the village idiot and Violet. Joaquin Torres and Brian Sgambati anchored the show with smart, emotionally wrenching performances.
Come see this provocative saga to see the fresh voice of the talented Sarah Ruhl on stage. Not all of the three hours works as designed, but there is enough meat to stimulate animated after show discussions. Originality dominates in Passion Play.
Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: September 24, 2007
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