|
The Collector
Adapted from the novel of John Fowles by Mark Healy
Produced by Livewire Chicago Theatre
At The Side Project Theatre
1439 W. Jarvis Ave
Chicago, IL
Reservations: 312-533-4666 - $15 (students/seniors $12)
Thursdays thru Saturdays at 8:00 pm, Sundays at 2:00 pm
Additional performances at 5:00 pm on Sept. 29th and Oct. 6th
Running time is 1 hour 45 minutes with one intermission
Through October 7, 2008
If You Had Been There You Would Understand …
Livewire Chicago Theatre’s production of Mark Healy’s adaptation of The Collector is an engrossing look into the mind of a psychopath whose penchant for collecting things has moved beyond baseball cards and butterflies to collecting women. Actually, in the play he collects only one woman, but then one must assume that the butterflies were once a single specimen as well. “It’s not really kidnapping,” the twisted Clegg (Matt Kelly) explains. He loved her and if we, the audience, had but been there, we would understand how it all came about. It’s really a matter of degree. Thus begins Clegg’s tale.
What follows is a reenactment of 30 days of captivity during which the narrator/villain Clegg lets the audience in on the details of his time with Miranda (Michelle Kline), the object of his obsession. Clegg has secretly fantasized about his grander collection for years, but has only recently won the lottery which has enabled him to finance his adventure. “Chance, as you can see . . . fate, really,” he clarifies, has allowed him to acquire the secluded English country home with the beautifully furnished little basement. Clegg is a perfect gentleman – almost – as he woos the terrified Miranda, believing that she will see his better qualities and even learn to love him.
But Miranda sees Clegg for what he is, not a man in love, but a collector who kills the objects of his passion in his craving to possess them. Kelly is eerily believable as Clegg, but Kline’s Miranda is more difficult to understand. Miranda is able to control Clegg utterly because of his adoration of her. She orders him about and takes control of so many of their encounters that it seems that the key to escape is to play along with Clegg until a good opportunity arises. Miranda manages to hide her terror from Clegg, but in spite of having such insight into him, is ultimately unable to win the battle of their encounter. Kline’s performance delivers some of this nuance, but the lines between her fear and her scheming are at times blurred. Does Miranda not fully understand the power she has over Clegg or does Kline overplay it? Miranda says to herself that if Clegg were caught, she would probably end up being the one who would have to defend him. Have Clegg’s expensive gifts actually generated some sympathy for him from Miranda or has her self-image been so shattered that she now loathes herself this much? The audience is left unsure, with questions aplenty for after theatre chats.
The pace of The Collector is also a bit slow at times. Director Christopher Dennis has gone for realism in the plodding conversation between Clegg and Miranda while electing stylized versions for their combative scenes. Granted, horrific violence is not easily pulled off in small spaces like the one at Side Project, but Clegg’s subduing and rape (I think) of Miranda are not believable. They are also the only opportunities in the show to pick things up a bit and in this production they are lost. Nonetheless, the show is far from boring. The acting is, overall, quite good – especially Kelly – and there is a great little set with good technical support. For theatre lovers, this is still a good night out in Rogers Park.
Somewhat Recommended
Randy Hardwick
randyontheglobe@yahoo.com for comments
Date Reviewed: September 13, 2007
|
