Head of Passes
(steppenwolf.org)
WHAT: Head of Passes
WHEN: April 4 – June 9, 2013 (schedule)
WHERE: 1650 N. Halsted Ave.
RUN TIME: 2 hours with a ten-minute intermission
WHO: Steppenwolf Theatre Company
PRICE: $15-$78
OUR RATING: Do it!
(Photo by Michael Brosilow)
As is traditional, Steppenwolf Theatre Company continues to churn out a plethora of plays that one can classify as “living room dramas;” in other words most, if not all the action takes place in the homes of the characters, and that home becomes a central character in itself. Indeed, the house is one of the main protagonists in ensemble member Tarell Alvin McCraney’s newest work, set in the Louisiana marshes and brimming with superb oceanic symbolism. The home has a sense of fallen grandeur about it, as its dilapidation turns to ruin, much in the same way we see the decline and fall of the matriarch residing within.
(Photo by Michael Brosilow)
Head of Passes, said by McCraney to be loosely inspired by the Book of Job, charts the course of dying Shelah (Cheryl Lynn Bruce), as she is swept up in the surprise festivities for her birthday, thrown by her adult children. Her life seems to be defined by only pain and devotion to God, one begetting the other, although it seems clear that the question of which came first weighs heavy on Shelah’s mind. Bruce’s depiction is solid and captivating, even if some of the scripting is rather long.
(Photo by Michael Brosilow)
Similarly captivating is actor Chris Boykin, playing the Angel in Act 1 and a construction worker in Act 2. His charisma floods the stage and the parallel between his two characters is riveting and forceful. Our only complaint is director Tina Landau’s ignorance towards the house right audience in regards to staging Boykin, who is turned away from this audience for most of Act 1, leaving them in the dark in regards to many important physical gestures he displays.
(Photo by Michael Brosilow)
Perhaps most powerfully, Scenic Designer David Gallo and Scenic Design Consultant Collette Pollard conjure up Mother Nature in their fantastically magical set design. You can feel the creaks and dampness of the Head of Passes and the ongoing storm outside the house is brought inside with great ferocity. Beginning with a few drips of water on stage, the set is catapulted by winds and rain, ending with the house subsiding chaotically at the end of Act 1. A true feat of engineering, and a wonder to watch.
(Photo by Michael Brosilow)
Scott Zielinski’s lighting design dances hand-in-hand with the scenic design, and one can feel the power of the storm and the magic of what happens on stage with his strings of lights, extreme side-lighting, and the beautiful shadows cast within the home as Mother Nature shifts and does her work. Unfortunately, one is slightly distracted by Michael Bodeen and Rob Milburn’s sound design through it all, as the sound doesn’t seem real but rather far-off and full of static. Perhaps this was an artistic choice, but it’s far too dissonant for our liking.
(Photo by Michael Brosilow)
Ultimately, this world premiere of Head of Passes takes its audience on one heck of a roller-coaster, and leaves us pondering our life choices and convictions and allows us to contemplate how we define our family and our idea of home. Tragedy is an unfortunate yet exceedingly human element to every life. How one deals with it defines their character, whether they be resilient, avoidant, vengeful or forgiving. McCraney’s exploration of these ideas enhances our appreciation for the high complexity of everyday life and how we too must all face tragedy.
