PicksInSix Review: Sisters - Writers Theatre

‘Sisters’ Story Has Bugs, Still Connects.
PicksInSix® Review | Guest Contributor | Catey Sullivan

Artificial Intelligence has been around for at least 70 years, but pop culture has been obsessed with it for millennia (See: “The Sorcerer’s Apprentice,” circa 150 AD). From the friendly, protective robot of “Lost in Space” to the husband-worshipping femmebots of “The Stepford Wives” to the synthetic companions of “Ex Machina,” “M3GAN,” AI is a Pandora’s Box of limitless, fascinating mutations. Its place in storytelling is as vast as the data it collects.

Matthew Libby’s “Sisters,” running through November 8 at Glencoe’s Writers Theatre, depicts in harrowing terms the human cost that AI can exact on those who rely on it heavily for companionship. Directed by Jessica Thebus, “Sisters” is punctuated by intensely powerful moments that will leave your brain in a twist, grappling with Gordian Knot of moral complexities involved with creating eerily sentient-like life. AI could make Victor Frankensteins of us all.

Libby’s drama focuses on the human Matilda (Brenda Barrie) and Greta (Chloe Johnston), her AI “sister” who lives in a computer. There are flaws here, but Libby has a knack for distilling the essence of being human with rather brutal accuracy. Humans, notes Greta, infinitely complex souls who spend their lives trapped in decaying bodies while desperately seeking transcendence. No lies detected.

Greta’s own transcendence is a bit of a deux ex machina—something that seems to happen due to random magic because the plot demands it rather than earns it. The other issue is that “Sisters” slightly drags in its final third. Matilda is the only character on stage, which makes some of Greta’s dialogue-heavy passages less than fully engaging. Barrie covers 90 years in Matilda’s life (six to 96) with impressive effectiveness. Adults playing six-year-olds can be squeaky and weird, but there’s no such problem with Barrie, who is consistently believable and relatable as she moves from traumatized child to nonagenarian, Greta (mostly) by her side. Johnston has an arguably even more difficult assignment: Playing invisible software.

Yet Johnston makes Greta unnerving and mind-warpingly understandable. The synth’s desire to “take up space” in her world, her fear of being recoded or “wiped”—aka annihilated— will resonate with any human who has ever felt invisible or been bedevilled with fears of death or dementia.

 “Sisters” movingly explores the impact of loneliness in humans, and Barrie brings it to wrenching life. Greta is nothing but coding and circuitry, but her impact on Matilda’s life is massive, ultimately directing everything from Matilda’s career choice to her bank balance. The emotional cost is more profound yet. Among the most harrowing scenes arrives as Barry howls into an existential abyss, overwhelmed by the losses she’s endured and the choices she’s made. It’s a scene that’ll embed itself in your mind and make you seriously reflect on the long-term psychological effects of making a chatbot your closest confidante.

“Sisters” is provocative and intriguing. But while the two-person cast is excellent, the play itself needs tightening. The technology in the story it tells might be sci-fi. The story “Sisters” spins is one we humans have been grappling with since time immemorial.

GUEST CONTRIBUTOR | CATEY SULLIVAN has been covering Chicago theater for more than 30 years. Her work has been published in the Chicago Sun-Times, Chicago Reader, Windy City Times, Playbill, Chicago Magazine, Chicago Tribune and New City, among others. She has an MFA in creative writing from the University of Illinois. 

PHOTO | Hugo Hentoff

Writers Theatre
presents
Sisters
The Gillian Theatre
325 Tudor Court
Glencoe, IL

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PicksInSix Review: A Christmas Carol - Goodman Theatre

“A Man’s Actions Foreshadow Certain Ends”
PicksInSix Review | Ed Tracy

The corner of Randolph and Dearborn was abuzz Sunday afternoon with the thriving Christkindlmarket on Daley Plaza and patrons, all decked out for the holidays, pouring in and out of Petterino’s that has a festive seasonal atmosphere all its own this time of year. And next door at Goodman Theatre, carolers entertained the crowd and lit the Goodman tree prior to the press opening of the 47th annual production of Charles Dickens’ “A Christmas Carol.”

If you are counting, that’s a magnificent accomplishment. Presenting a timeless classic for nearly five decades—over 20 of them in the Goodman’s elegant Albert Theatre—takes some inventive twists and artistic turns to keep it fresh and engaging for multiple generations of returning audiences and edgy enough to attract newcomers. The Goodman, now under the artistic leadership of Susan V. Booth, succeeds again on both counts.

In Director Jessica Thebus’s delightfully haunting new offering of Tom Creamer’s adaptation with contributions from Neena Arndt, Christopher Donahue wraps his own distinctive style of demonic humbuggery around Ebenezer Scrooge as he transforms from an embittered loner to the toast of the town after facing three spirits who show him the implicit error in his ways. Right from the start, Donahue infuses Dickens erasable miser with a dark and heavy dose of disgust for all things Christmas, from chastising his earnest clerk Bob Cratchit (Anthony Irons) over a lump of coal and dismissing the loving affection of his niece Frida (Dee Dee Batteast), to summarily rejecting the appeals for support from Mr. Ortle (Wai Yim) and Miss Crumb (Penelope Walker). The levels of meanness in Donahue’s Scrooge appear to have no bounds early on and provide the brilliant actor a wide range of emotions for the transformative scenes that follow.

The story—which is smartly narrated throughout by the charming Kate Fry—follows Scrooge and the spirits in a trip to his own past, present and future, foretold in the chilling visitation from his dead-as-a-doornail partner Jacob Marley (William Dick). In Scrooge’s high-flying encounter with the Ghost of Christmas Past (Lucky Stiff) a visit to his former school and sister Fan (Tafadzwa Diener) is followed by a vision of his apprenticeship with Fezziwg (Robert Schleifer) who communicates with sign language and the aid of his interpreter Max (Mark Bedard). The festive Fezziwig party atmosphere is shrouded by the ambitious young Scrooge (Daniel José Molina) and Marley (Arash Fakhrabadi) who hatch a devious plot at the expense of any future relationship that Scrooge might have had with the lovely Belle (Amira Danan).

The Ghost of Christmas Present (Bri Sudia) drops Scrooge in to observe Bob Cratchit’s family and the plight of Tiny Tim (Ava Rose Doty) which leads to the dark predictions of the Ghost of Christmas Future (Danan). It’s then all up to Donohue’s masterfully jubilant self-realization and redemption in understanding the true spirit of Christmas.

There are supreme elements of joy for everyone in Goodman’s fine production of “A Christmas Carol”—the superb on-stage musicians, long a distinctive element of this show, here performed by Hillary Bayley, Brian Goodwin, Malcom Ruhl and Gregory Hirt; Todd Rosenthal’s arresting scenic design colorfully awash with Keith Parham’s lighting; elegant period costumes by Heidi Sue McMath; and, a multi-talented ensemble playing many roles—all making this satisfying and heartfelt show a perfect family destination for the holiday season.   

PHOTO|Liz Lauren

Goodman Theatre
presents
Charles Dickens’
A Christmas Carol
through December 30

WEBSITE

(312) 443-3800

TICKETS

For more reviews, visit: Theatre In Chicago

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PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: A Christmas Carol - Goodman Theatre

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Pure, Timeless Dickens Magic and Merriment!
Guest Contributor | Scott Gryder

With over 100 different versions of this classic story available, I was ready to enjoy the popular Charles Dickens’ classic “A Christmas Carol,” but I was nowhere near prepared for the magic that Goodman Theatre would bring to its 44th annual production! With the entire house packed with families and friends of all ages on Thursday night snuggled into the Albert Theatre, enjoying the soft, welcoming glow of the stage’s London street scene, it warmed the heart to see the return of this beloved holiday tradition.

After over four decades of performances, you’d expect a production to show some wear and tear, but Goodman Theatre’s “A Christmas Carol” ages like a fine gluhwein. Chicago favorite Jessica Thebus, co-adaptor/director of Goodman’s superb 2020 audio streaming version, creates directorial magic onstage. Thebus masterfully presents flawlessly flowing stage pictures, especially considering the could-be intimidatingly large ensemble, peppered with delightful surprises. The famous plot focuses mainly on Ebenezer Scrooge’s personal reflection and growth; however, the theme that rings truest reminds us to be kind to everyone, for you never know where they’re coming from, nor what they’re going through.

As for Goodman’s Scrooge, Larry Yando delivers a masterclass in performance. Returning for his 14th year, Yando incorporates delightfully shifting vocal stylings and physical energy that keeps the audience continually falling in love with the antagonist. From a graveled character voice, reminiscent of a barren tree branch scratching across a wintery windowpane, to his spontaneous celebratory gyrations, comparable to a joyful toddler learning to walk, Yando’s ability to balance moments of sinister humbug with physical comedy are remarkable. Contrastingly, Thomas J. Cox amuses and captivates with a mousy timidity and enthusiasm as the underpaid clerk Bob Cratchit. And the epic ensemble doesn’t waste a beat onstage. Whether filling a London street scene or attending a private party, each cast member brings a fully developed character, nuanced and alive to every moment. Particular standouts include Gayatri Gadhvi’s stirring and poignant Tiny Tim Cratchit and the silver-and-gold vocals of Bethany Thomas’ Ghost of Christmas Present.

The show starts unexpectedly small, using the concept of intimate fireside storytelling; however, it doesn’t take long for the stage to hustle and bustle with an ensemble that glides so meticulously into stage pictures as if choreographed. Although slower paced and delivered in a more formal language style than I’d expected of a family-centric production, Thebus’ casting admiringly celebrates gender, color, and orientation, and the audience is captivated throughout as the multitude of cast members and mammoth set pieces continually dissolve and materialize before our very eyes as we weave through the time-honored plot. The subtle, natural use of performer amplification was also greatly appreciated.

The true abracadabra comes from the combined design genius of “A Christmas Carol.” Set designer Todd Rosenthal’s use of nearly invisible multi-layering and floating sets, along with staggering control over special effects, breathtakingly recreates the realistic and idyllic scenes of a Thomas Kinkade painting. In perfect complementarity, Keith Parham’s lighting wizardry only further illuminates Rosenthal’s sets, providing secret passageways for sudden reveals and visual trickery. The charming mix use of muted and lush palettes of Heidi Sue McMath’s costume designs provided just enough visual punch without losing the traditional touch of Victorian England garb. Contrastingly delving fiercely into the realm of Scrooge’s visiting spirits, McMath assembles looks of a Lady Gaga/Liza Minnelli red carpet affair; a personified, propagating Tannenbaum; and the soul-sucking menace of a Rowling-Dementor-meets-Henson-Skeksis. And the cinematic sound design of Richard Woodbury creates palpable layers of emotional sustenance, fervidly transporting the audience from beginning to end.

After witnessing the transformation from holiday hooey to pure childlike innocence, I left the Goodman Theatre filled with Scrooge’s (or should I say Yando’s?) contagious holiday gratitude and cheer. It’s no wonder it’s been a Chicago holiday tradition now in its fifth decade, Goodman’s “A Christmas Carol” triggered the start of the holiday season in my heart!  

PHOTO| Liz Lauren

Goodman Theatre
presents
Charles Dickens’
A Christmas Carol
through December 31

WEBSITE
(312) 443-3800
TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC