The Birthday Party
WHAT: The Birthday Party
WHEN: January 24 – April 28, 2013
WHERE: 1650 N. Halsted Ave.
RUNTIME: 2 hours and 30 minutes with two 10-minute intermissions
HOST: Steppenwolf Theatre Company
PRICE: $15-$78
OUR RATING: Chance It!
(Credit: Sandro)
Ambiguity takes and reigns the stage in Steppenwolf Theatre Company’s production of Harold Pinter’s The Birthday Party, now playing until March 3rd in Steppenwolf’s newly configured Upstairs Theatre in Lincoln Park. Directed by ensemble member Austin Pendleton and starring an epic cast of Steppenwolf ensemble members Ian Barford, Francis Guinan, Moira Harris and John Mahoney (along with Marc Grapey and Sophie Sinise), Steppenwolf’s take on Pinter’s nightmarish dark-comic classic is lukewarm at best.
Moira Harris, Ian Barford, Sophia Sinise, Francis Guinan and Marc Grapey (Credit: Michael Brosilow)
Set in a seaside English boarding house, this comedy of menace is absurd to say the least, with a fluid and questionable sense of time, place, identity and context. To put it simply, the lives of owners Meg (Moira Harris) and Petey (John Mahoney) and their guest Stanley (Ian Barford) are turned upside down with the arrival of two mysterious strangers (Francis Guinan and Marc Grapey). Other aspects of the plot are given step by step and questioned along the way, leaving the audience to piece together the rest of the story.
Steppenwolf’s new configuration of their Upstairs Theatre definitely adds some excitement to the piece, now bringing their audience closer in a new alley (traverse) staging that provides a unique and slightly uncomfortable intimacy with both the stage and the audience on the other side.
Barford and Harris (Credit: Michael Brosilow)
However, the most essential pieces of a Pinter play are unfortunately found missing in this production. The classic suspense and menace that pervade each of his works, including The Birthday Party, are only subtle here, leaving the audience without the unique creepiness and spine-tingling feeling of risk that one usually associates with the Nobel laureate’s work. After reading the play, one feels a certain amount of discomfort and tension that is refreshing and exciting and scary all at the same time. But Pendleton’s direction seems more stagnant and lacks this sense of the dramatic, with a few hapless cameos of the over-dramatic.
Guinan and Grapey (Credit: Michael Brosilow)
In addition to this, the setting, which is clearly stated by Pinter to be a southern English town (as mentioned on several occasions in the media), does not seem to have mattered to whoever provided guidance for accents on this production. Dialects seem to range from northern working class (Mahoney), Thespian London (Guinan), and indiscernible (Welsh?) (Harris). This added to the confused feeling of the production and was perhaps intentional. However, it still doesn’t forgive some of the poorer accent approximations given by certain members of the cast, which are simply unnecessary with the proper training. We, however, blame this more so on a failing of the voice coach than any of the actors themselves.
Mahoney and Guinan (Credit: Michael Brosilow)
This doesn’t negate the fact that the acting as a whole is superb, with stellar performances from Francis Guinan and John Mahoney, although Mahoney’s part is much smaller than we would have liked. Each of these theatrical veterans bring a whole lot of punch to this play, with Mahoney’s strange vulnerability and the lovable, yet terrifying, character of Guinan’s.
While the average ticket price may be a bit too steep for this production, Steppenwolf offers some pretty awesome ticket discounts, including $15 student tickets and twenty $20 tickets to every single show. Twenty bucks to see some top Steppenwolf acting of Pinter’s ominous absurd-ism may just be worth it.
