In this opera, Ludwig Van Beethoven and Quasimodo hold a panel discussion on their failed attempt to create the enigmatic sound described in the stage directions of Chekhov’s “The Cherry Orchard.” Beethoven, obsequious, delivers eleven variations on greetings and opening statements. Quasimodo broods, sulks; and, with grim and hopeless resolve, tries to give voice to a phantom, continuing the struggle like a punchdrunk pugilist who cannot hear the count.
Theater does not get much better. Mickle’s Maher is a wordsmith the likes of which the world rarely sees. Mark Messing’s score is daring, soaring, playful, complex, worthy of comparison to todays’ most accomplished composers. The performers (Paul Ghica, cellist; Tim Lenihan, pianist; Larry Adams, Quasimodo; George Andrew Wolff, Beethoven) are virtuosic. Simple ideas are unfolded, made beautiful and sad and terrifying and funny. Complex ideas are made simple, elegant and comprehensible. Ever gesture and sound is razor sharp and delivered with marksman’s accuracy. The set is spare, mundane, and perfect. There is not one extraneous or unnecessary prop. The lighting is efficient and deft.
This is a masterful work. Chicagoans should feel greatly privileged to have such artists in our midst. It would be very easy for this show to get overlooked amidst the flood of winter offerings from innumerable theater companies occupying innumerable black boxes about the city. Though I hate to encourage you to ignore any of them, please think about making this show a priority. Theater Oobleck shows are rare, but they are all gemstones; this is no exception. Please see it while you have the chance.
Reviewed by Centerstage!
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