Steven R. O’Brien, Paul Ian Stanley, and Daniel McCann (Photo by Brian Allmann)
Reviewed by Lovell Estell III
Ektelo Theater Group
Through April 14
Irish playwright Martin McDonagh has successfully leaned on dark humor and violence to explore the uglier side of human nature in both theater and film. Written in 2003, The Pillowman, a perversely humorous piece set in an unidentified totalitarian state, serves as a prime example.
We first see the blindfolded Katurian (Steven R. O’Brien), a subpar writer of gruesome short stories, under interrogation by detectives Tupolski (Daniel T. McCann) and Ariel (Paul Ian Stanley). The two are something of a “good cop bad cop” duo, with the patient, restrained Tupolski offsetting the hulking, violence-prone Ariel (definitely not the kindly spirit from“ The Tempest), who at one point slams Katurian’s head onto the table while spewing outrage at the bewildered target of his rage.
Why? What is this about? Apparently, Katurian’s depraved fascination with writing about murdered children and the horrible things done to them has apparently inspired a copycat killer in town! (Informed, Katurian insists on his innocence, claiming to be only a “storyteller”.) In one such tale, an innocent child has his toes chopped off by a stranger wielding a meat cleaver. In another (which is presented as a video), a young boy with a talent for writing is nurtured by his parents while at the same time they cruelly torture his sister for years. Strangely enough, the cops have also arrested Katurian’s deranged sister Michal (Kimberly Demarse), who makes her presence first known with a bloodcurdling scream during an offstage visit from Ariel. The extent of Michal’s mutilated psyche becomes apparent when she later joins Katurian onstage and, in fairy tale, “once upon a time” fashion, relates the chilling tale of The Pillowman, who encourages children to kill themselves. No surprises about who the culprit is after this.
McDonagh’s dark, sordid humor does emerge throughout, though not as consistently or effectively as it should. The absence of propulsive action becomes a problem; this is a “chatty” play, and, clocking in at nearly three hours, the production’s three acts become ponderous. Better pacing by director Brian Allman would help. Also, performances are not as polished as they should be, with the exception of McCann, who is unfailingly convincing throughout.
Ektelo Theatre Group, The Broadwater, 1078 Lillian Way, Hollywood. Thurs.-Sat., 8 pm, Sun., 3 pm; thru April 14. www.thebroadwaterla.com. Running time two hours and 50 minutes with a ten minute intermission.
