The Pillowman

It's been a while since I have been able to see any productions outside of the program. David was kind enough to procure tickets for a preview of The Pillowman at George Street Playhouse. I went in with a heavy bias. Having seen the original production at the National in London, well before it even transferred to New York, my expectations were not very high for this production. That, and I've seen a few other atrocious productions put forth by this venue...this is a theater that would benefit from axing any technical or design element and just focusing on acting and directing--the two redeeming qualities of most of the productions I've seen. Their productions always seem to be hobbled by the design and execution.

Thankfully, it is difficult to butcher this script. At first the interactions were a bit tedious and...rehearsed...hardly appropriate for an an interrogation scene. I thought this was due to one actor in particular, the gentleman playing Katurian for those familiar with the script. But he related so well with Michael in the following scenes, and had a great presentational quality about him for the stories themselves. It did pick up as the show progressed...this was only the second preview. I've sat through enough dress rehearsals and previews to know better.

The weakest part of the production was the set. Granted there is not much to be done. It is an interrogation room, or police station with the feeling of Orwell's 1984. The design itself was fine, the execution was awful. Poor paint jobs gave the set a rushed and cheap community theatre quality and unmasked seams in the floor and walls made it obvious that the revolve was going to be used at some point. When the revolve did kick in, along with a chain motor, it was not quiet enough for the actors to play over. With how seamlessly the script tends to move from plot to children's story the moving scenery became distracting and ugly. The designs for the stories were worse than the stage mechanics. The pieces had the feeling of story book illustrations, without the exaggeration that usually accompanies them. Brightly colored realism. I felt as though the designer was trying to edge in on the 50's suburban perfection, but failing to make it perfect. Given what the stories are about they should be to the letter perfect or obviously skewed, twisted, dark or just off; these were neither. More distracting, actually, with the problem of the sight lines the thrust stage presented.

But as usual, I am nit-picking. While the designs (including the costumes and the lights) were mediocre, the acting and direction was phenomenal (though I admit it is a little unnerving hearing British dialogue in an American accent). I have have nothing but the greatest awe and respect for McDonagh's work. Dark, funny and moving. At times I wonder if I would make the same choice as Michael, if offered the Pillowman's choices.