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Vigils
By Noah Haidle
Directed by Kate Whoriskey
At the Goodman’s Owen Theatre
170 N. Dearborn Street
Chicago, IL
Call 312-443-3820, tickets $10 - $35
Tuesdays, Wednesdays Thursdays at 7:30
Fridays at 8 PM
Saturdays at 2 & 8 PM
Sundays at 2 & 7:30 PM
Running time is 80 minutes with no intermission
Through November 12, 2006
Unconventional work irritates more than pleases
The Goodman Theatre’s 2005 New Stages series spawned playwright Noah Haidle’s Vigils which director Kate Whoriskey has mounted into a visually stunning piece featuring a monstrously large set (Walt Spangler designer) and amazing video projections by John Boesche . The technical aspects of this one act are its brightest moments. Whoriskey almost saves this muddled affair with the ambitious special effects.
Unfortunately, this world premiere play isn’t ready for prime time. Maybe I didn’t get Noah Haidle’s concept of “freedom of imagination” that is attributed to his work? His off-kilter play has an interesting premise or storyline. The widow (Johanna Day) can’t get over nor let go of her husband who died two years ago while working as a firefighter trying to save a baby in a burning house. She traps his soul (Marc Grapey) in a box in her bedroom so his body (Steve Key) is wandering aimlessly ricocheting from one memory to the next. The woman is trapped literally in the past. She just can’t let go. When a wooer (Corburn Goss) arrives, she must decide between the past and the imagined future. The soul continues to try to escape her grip so he can make it to heaven.
This imaginative plot could work but it is filled with raw sex scenes and depictions of body as a louse that effectively trivializes fallen firefighters tastelessly. Told in endless flashbacks and scenes that repeat, repeat, repeat, repeat and repeat (yes, some are played five times!), the play irritates as much as entertains. The subject of death and the grieving process are mixed with memories of lousy sex and an unhappy marriage leading me to wonder why widow can’t let go of soul? In the flashbacks, she appears to have a loveless marriage so why not move on? She still loves him. Why? That isn’t clarified. This simply didn’t work for me.
Also, we never care about widow because we really don’t like her so we don’t have any empathy for her problem. And, as played by Marc Grapey, we are lukewarm about soul making this tedious repetitive show seem much longer than 80 minutes. Add the colorful visuals and the show goes from comic book caricatures to sexy bedroom scenes to scary burning house scenes making Vigils suffer from conflicting tones and moods. Is this a dark comedy or what?
Vigils’ structure doesn’t help. Besides the endless recycled scenes there are several false endings or anti-climatic scenes that gives the show a “when will this show end” feeling. This curious blend of styles, awkward situations and contradictory moods didn’t deliver for me. I do appreciate the attempt to stretch theatrical boundaries by Haidle; but I found the work tedious. The humor was tasteless. I must say that the opening night audience found a split with many laughing heartily while others (me included) were offended by the play. I think it minimizes heroic deeds from firefighters.
I do understand the validity of mounting an unconventional play by a fresh new voice. Kudos to the Goodman Theatre for championing ambitious new plays like Vigils. You’ll either love it or hate it. I do believe some will cherish its boldness. I didn’t but I’m open to seeing more from Noah Haidle.
Somewhat Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: October 24, 2006
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