REVIEWS

One of the most anticipated, bizarre, and audacious works in the American theatrical landscape finally makes its debut at the Goodman after years of development. 2666, adapted from the posthumously published novel by Roberto Bolaño, is a five-and-a-half-hour long epic narrative which, like the Chilean author’s novel, radically changes styles with each act. Goodman artistic director Bob Falls took on this project with the sort of expansive vision which can only be driven by limitless ambition and admiration for his source, and yet, even he brought in a co-writer and director, the first time working at the Goodman that Falls had done so. Even with the administration’s support, 2666 required a million-dollar grant from an actor-turned-monk-turned-Powerball winner to finally be produced. The result is a work of such complexity and scope that it is daunting to even describe. But it is one the theatre scene is ready for.

It’s remarkable how Joseph nearly plays two characters: the younger, brasher, and older, wiser Sancho, and how he is equally convincing and magnetic as each. The real Charles Ignatius Sancho was hobbled in his acting career by a speech impediment which Joseph chose to interpret as a lisp; but in Joseph’s mouth, it’s an extraordinary tool for conveying subtlety as well as emphasis, wit as well as poignancy. In a time when Europe is agonizing over multiculturalism, Joseph wrote this play in part to demonstrate that London has already been a multicultural society for hundreds of years. For Americans, the story is a reminder of the importance of the right to vote, and the dignity intrinsic in exercising it.

Roundabout revived their production in 2014, and now, the national tour is providing American theatre-goers with another chance to see this landmark in its full glory. But despite its reputation for brashness (and possibly because of some issue with monitors and other sound equipment at opening), this seems to be an unusually contemplative Cabaret.