Seattle Review: The Pillowman

Everything that has been said about Martin McDonagh's The Pillowman is true. Deeply disturbing, surprisingly comical, and highly fanciful only begin to describe this remarkable new play. A bold choice to open their new season, ACT Theatre has delivered a hypnotic new production full of rare theatrical magic.  With a magnificent leading performance, attentive direction, and one impressive set piece, this outing ranks as one of the strongest in an already impressive year for Seattle/>/> theatre.

When a series of crimes mirror his short stories, young Katurian and his mentally challenged brother Michal are brought in for interrogation. What follows is a fantastic blend of reality and fantasy, as a tricky puzzle is slowly solved.  McDonagh takes his audience on a fantastic journey full of questions and answers that never fail to captivate.  The Pillowman frequently blurs the line between the dramatic and comical, creating something unique and absorbing.    

Most impressive is McDonagh's analysis of the artist. Is a writer (or any other creative mind) responsible for another person's violent response to their work?  With headlines full of pointing fingers, The Pillowman effectively captures our constant search for blame.   McDonagh fills his text with themes ranging from ancestral destiny to personal responsibility, creating the most unique work of the new millennium.

ACT's thrilling staging plays like a vivid nightmare.  Director Kurt Beattie is able to find the tricky balance between the dramatic and the comic, never shying away from the darkness of the piece.  In a text full of intricate details, this production hits every note perfectly. Beattie's direction plays like a trance of sorts, holding us captive in this cerebral dilemma.   This production lets the text speak for itself, allowing things unfold naturally in a completely unpretentious manner. Beattie also embraces the intentional ambiguity of McDonagh's writing, always allowing us to draw our own conclusions. Beattie also embraces the violent outbursts that frequent The Pillowman, choosing to make these moments as vivid as possible.

Beattie has cast a wildly talented company who offer shockingly realistic performances.  Again, the actors are merely serving the text, making choices that are always appropriate.  This smart ensemble truly gets the work they are executing, never succumbing fully to the drama or the comedy. They embody both styles fully and truly capture the unpredictability of McDonagh's text.

Matthew Floyd Miller gives an impressive performance in one of modern theatre's most difficult roles.  Miller's Katurian is flawed, questioning, focused, and impulsive in his search for artistic integrity.  He is able to add a palpable layer of mystery throughout, never fully revealing if he is protagonist or antagonist.  Miller draws us into Katurian's troubled mind while keeping us at a healthy distance to observe.

The supporting cast frames Miller's groundbreaking performance nicely.  Dennis Arndt gives an intricate reading as the dryly comical detective Tupolski. Arndt is able to easily negotiate a role full of difficult transitions. R.Hamilton right is appropriately fearsome as Tupolski's unpredictable partner Ariel.  Shawn Telford is an always changing Michal, effectively capturing a child stuck in the body of a man.  He fills his performance with the sadness and struggle needed.

Matthew Smucker's monstrous industrial set easily takes us through the various worlds McDonagh has created.  Full of tricks and surprises (too delightful to give away here), this scenic masterpiece is a stunning accomplishment. Mary Louise Geiger's tense lighting design perfectly captures the many moods of this masterpiece.  Marcia Dixcy Jory's costumes effectively translate the realistic and surreal moments.  Adam Stern's haunting score evokes the cinematic influences while remaining uniquely theatrical. 

It is so nice to see ACT put the contemporary back in their name with a season full of hot-button material.  To be denied such important works like Martin McDonagh's The Pillowman would be a truly sad thing.  Director Kurt Beattie and his phenomenal company have masterfully delivered one of the most stunningly original creations in all of contemporary theatre. 

The Pillowman runs through April 16^th at ACT Theatre. For tickets call (206) 292-7676, or visit www.acttheatre.org

Photos by Chris Bennion

Top: Matthew Floyd Miller as Katurian and R. Hamilton Wright as Ariel

Bottom: Matthew Floyd Miller as Katurian and Shawn Telford as Michal

 

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