BWW Reviews: Steppenwolf's MARIE ANTOINETTE Glitters, But is Not Gold

Upon walking into Steppenwolf's Upstairs Theatre where David Adjmi's modern-day inspired "Marie Antoinette" is currently running, the audience is immediately thrust into the world of the play before any actors even step onto the stage. Thanks to a gorgeous and perfectly executed set design by Clint Ramos (with lighting design by Japhy Weideman, sound and composition by Lindsay Jones, and projections by Jeff Sugg), the sleek, mirrored runway (acting as the playing space) between two screens playing a virtual tour of Versailles, with oversized, couture-inspired white roses hanging from the ceiling, the design elements set up the audience for a chic-filled, stylistic, and exciting performance ahead of them. Unfortunately, Robert O'Hara's direction is unfocused and seems lost, especially amid such a perfectly executed (and otherwise uniform) design.

What makes this particularly disappointing is that this expertly created design perfectly reflects the smart, funny, and stylistic feel of Adjmi's play. The designers have all done their job, building the excitement up for the audience to match the fresh and unique feel of the script. However, once the actors take the stage, that thrill all comes to a standstill (save for the beautiful, intricate, and often laugh-provoking costumes by Dede Ayite and hair and wigs by Dave Bova, which are perfectly in tune with the other design elements of the show).

The stylized nature of the script leaves ample room (and encourages) many different ways to express the events and emotions of the plot. With the runway-like stage left bare much of the time, the transitions where Marie is getting her outfits and wigs changed in front of the audience while French hip hop music is playing in the background beg for some sort of movement to be added. Not only to keep the momentum going, but adding some creative, choreographed sequences in these moments could better set up each scene (many of which have multiple years and different locations between them).

The staging during the dialogue, too, feels stale and contrived. The amount of times one actor circle another who is sitting down feels less like an active choice and more like a director who wasn't sure how to imbue movement into the staging with a bare set.

While the acting, on the whole, is well done, the missed directorial opportunities continue within the relationships between the actors onstage. Many moments that could have held greater depth or comedic power were awkwardly executed leaving scenes full of wasted potential.

In the title role, Alana Arenas (who barely has any time off the stage), never quite conveys the necessary juxtaposition of grandeur and capriciousness, although O'Hara's lack of a specific tone for his actors certainly doesn't help. Marie's final hallucinatory scenes leading up to her ultimate fate never build up to enough of a climax to justify the exciting and well-executed last moment of the show.

Fortunately, O'Hara's direction, although not fulfilling all the possibilities of such a fresh and exciting script, doesn't get in the way of it, either (and, in most cases, especially when working with such a strong script, I would rather a production be under directed than over directed). Even if the performance doesn't elicit the kind of emotion or laughs (and this script is full of excellent comedic moments) it should, between the excellent design, the unique script, and a cast of talented actors, "Marie Antoinette" is still enjoyable and entertaining.

"Marie Antoinette" is currently running through May 10th, 2015 at Steppenwolf Theatre (1650 N. Halsted St.). Tickets start at $20 and can be purchased by visiting the box office, calling (312) 335-1650, or visiting www.steppenwolf.org.

Photo Credit: Michael Brosilow

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