Displaying items by tag: Tatiana Pavela

Perhaps surprisingly, Anatomy of a Suicide is not an overwhelmingly emotionally gripping play, nor is it horrifying. Instead, it vividly portrays the slow drip of suffering for Carol, a woman in the grip of depression, living always with suicidal tendencies. It also presents the impact of an intergenerational transference of Carol’s condition on her daughter and granddaughter. Written by British playwright Alice Birch and ably directed by Alex Mallory, it features Tatiana Pavela in the role of Carol, Taigé Lauren as her young adult daughter Anna, and Isabel Lee Roden as her granddaughter Bonnie.

Anatomy of a Suicide is hard to watch because of the design Birch has chosen for it. The central stories of these three women are performed simultaneously for two hours with one fifteen minute intermission. These focal storylines are in three different time frames, years apart. And some characters carry their roles between the timeframes. In other words, it is difficult to follow. A number of actors play multiple roles as numerous ancillary characters, adding to the challenge.

The program is helpful, but audience members are given just a barcode then told to silence their phones, so there is nothing to guide us as we watch. As a consequence, it is only by reading the program afterward, then studying the Wikipedia page for the play, that I could understand more of the details of what I witnessed.

Still, the broad lines of Anatomy of a Suicide on stage are clear enough to appreciate the heart of the story. All three actors are stunning in their roles. Pavela as Carol, whose life revealed, we are told spans the time frame of 1967-1985, registers the emotions that accompany what we now recognize as post-partum depression. We see every nuance of her internal strife as she struggles to meet societal expectations as homemaker and mother in that window of time when expectations of a woman’s place were unquestioned.

For those of us around then, it is an accurate portrayal of the menial roles women were expected to play in family life. And it puts in the spotlight how that period militated against women having an inner life, especially one that ran counter to the foreordained narrative line. Those who were depressed by childrearing or housekeeping bore the brunt of social opprobrium. And if their condition persisted, they might be subjected to brutal mental illness treatments, including shock therapy.

Isabel Lee Roden (left) as Bonnie and Taigé Lauren as Anna in Anatomy of a Suicide.

When we first see Anna, Carol’s daughter, portrayed in the window of 1994-1999 and in her twenties, she is being retrieved by her father, John (Josh Razavi) from a hospital where she was placed following a drug binge. The juxtaposition of these two characters, though in separate unconnected scenes, suggests a link between her mother Carol’s condition and Anna’s drug dependency. Anna emerges from her situation, finds her true love Jamie (Raúl Alonso) marries, and eventually bears a daughter, Bonnie.

We gather the pregnancy and birth are triggering emotionally for Anna. But most of her timeline on stage seems happy. She is a vibrant person. Her wedding day is full of joy; her father embraces her. Taigé Lauren's performance is full, rich and vibrant and it is a pleasure to see her on stage. Another actor, Laila Malak, plays a youthful version of Anna, and it seems that later, during Malak's tenure on stage, she and her father are nearby during a picnic at the moment of Carol’s suicide. This happens later in the play’s sequence, and explains retroactively why Carol was not at Anna’s wedding.

We meet Carol’s granddaughter, Bonnie, who seems to be on the spectrum of some neurodivergent condition. Isabel Lee Roden reflects an inertness in Bonnie, her lack of affect in engaging others. But in climactic moments, Roden leaps from reticence to full-throated dramatic presentation, a great performance that bides its time in deference to the character, but is always there.

To my mind, this is an actor’s play, one for theater professionals, but not something the average ticket buyer would want to see. The play is also burdened with a difficult to market title - Anatomy of a Murder or Anatomy of a Fall have worked, but Anatomy of a Suicide is an unlikely draw. With just 32 seats in the theater, I’m guessing co-producers JunkHeart and The Metal Shop Performance Lab do not have high expectations for revenue. Anatomy of a Suicide runs through August 30, 2026 at Redtwist Theatre in Chicago.

I think my favorite thing – well, one of my favorite things – about Wyatt Kent’s take on HAMLET is imagining just how much fun everyone must have been having with it! everyone except Hamlet, of course, but the entire play is about Prince Hamlet (Ashley Fox) having a Very. Bad. Day.

HAMLET is one of Shakespeare’s tragedies, no argument about that, and certainly the corpses littering the stage in the final act [I don’t have to worry about spoilers here, right?] cannot be anything but tragic. But Director Kent broadened the scope, extended our range of understanding HAMLET, by making us laugh.

Yes, I know Shakespeare injects touches of humor into every play – even Macbeth has a few chuckles – but I’m talking about a far more inclusive and deliberate thing here. Last summer I saw Midsommer Flight’s production of Cymbeline, billed as tragedy but staged as comedy. Director Beth Wolf created a totally brilliant comedy while staying true to the Bard’s script word for word. Kent worked the same magic on HAMLET, a categorically tragic work, with sensational results.

In retrospect I realize there was some humor evident as early as Act 1 Scene 1, where Horatio (Reginald Hemphill) sees the Ghost, but I had arrived at the theatre expecting to see HAMLET, a tragedy, so it took a minute to wrap my mind around what was happening up there. And that’s OK! – it worked really well for me to pick up on it only gradually ….

Act 1, Scene 3: Ophelia (Julia Rowley) was saying farewell to her brother Laertes (Ian Maryfield) and, OK, she did go a tad OTT what with leaping into his arms and knocking him to the floor, but I was still considering the desultory laughter misplaced, not to mention rude. Then Polonius (Zach Bloomfield) begins to deliver his loving, solicitous, concerned, pompous, long-winded, verbose, garrulous, interminable paternal speech to his son and at that point it was a no-brainer – the production was categorically comedic. In any production Polonius will be a garrulous guy, that’s who Polonius is, and Bloomfield skillfully played this bombastic buffoon with maximum drollery, making us chuckle all through ‘neither a borrower nor a lender be.…’ Laertes rolling his eyes at Dad’s balderdash was another unmistakable clue as to where Kent was taking us.

I repeat - not one syllable was altered in the script of HAMLET, PRINCE OF DENMARK; it was the artistry of Kent’s vision and the genius of the actors that transmogrified HAMLET, PRINCE OF DENMARK from dramatic tragedy to black comedy. Brilliant!

More giggles in store in Act 2, when Harrison Lampert (Rosencrantz) bumbled, fumbled, and stumbled his way onstage, befriended and ballyhooed by Mary Townsend Cahoon as Guildenstern. Every scene with these two was L.O.L. funny! And again, it was the actors’ postures, expressions and intonation – in a word, their acting – that morphed Shakespeare’s lines into one-liners.

Polonius again exercises his loquacious and circumlocutory logorrhea to alert King Claudius (Robert Koon) and Queen Gertrude (Kelly Levander) that Prince Hamlet has gone mad. Furthermore, Polonius posits the pathogenesis of Hamlet’s madness is none other than that enigmatic enchantment that oft-times doth drive strong men nuts … love.

Right then, that covers the major players. Others included Josh Razavi (Gravedigger et al), Tatiana Pavela (Player etc.) and Tulsi McDaniels (Osric and others) and all did colossal justice to their multiple roles in many scenes.

I can’t leave the cast without some shout-outs to my favorites – you all know I unapologetically play favorites in my reviews! First is Ashley Fox as Hamlet; he is the sole character who doesn’t participate in the farcical variation, and I imagine it was a challenge for Fox to retain that bleak and gloomy aspect amidst the hilarity of her fellows. She truly did a stellar job! 

I already mentioned Lampert and Cahoon’s (Rosencrantz and Guildenstern’s) wonderful waggery – by their third or fourth appearance we were laughing in anticipation as soon as they took the stage! Likewise, Zack Bloomfield’s Polonius – even his mustache was weirdly chucklesome.

Alarum: I had a bag of Skittles and (probably channeling Rosencrantz) dropped it! Losing the Skittles was oh-so-what, but they rolled like BB’s into the aisles where actors were dashing about. Just my luck if an actor slipped on my sweets and the evening relapsed back into tragedy! From my seat I couldn’t reach to sweep ‘em away, but Ian Maryfield, lovely Laertes, stepped off the stage [and, more difficult, out of character!], to scrape the treacherous little treats out of harm’s way. Gratitude galore to the gallant Laertes! And, just BTW, his performance was every bit as striking as his chivalry. Ian, if you’re reading this: 

I’ll begin my production plaudits with Casting Director Becca Holloway for assembling this phenomenal team. I’ve seen lots of gender-bending casting, particularly in this PC (post-Covid) era, but it seemed that Holloway was simply gender- as well as color-blind, selecting the actor best suited for each role without regard to anything but their talent. I don’t know if that really was her strategy, but it certainly was the outcome.  

And naturally the finest cast won’t deliver the finest production without the finest Direction, which Wyatt Kent delivered, assisted by Sean William Kelly (Assistant Director) and Technical Director Andy Cahoon – who also collaborated on Props with Mary Townsend Cahoon – who also sparkled as Guildenstern. This production was all about multi-tasking, yeah? For Fight and Intimacy Design, I just last week saw Babes With Blades do The S Paradox, so my bar was set really high, but Jamie MacPherson and Fight Captain Ian Maryfield cleared that bar with room to spare!

Pictured left to right - Kelly Levander as Gertrude, Ian Maryfield as Laertes, Ashley Fox as Hamlet

Dr Lexi Signor’s Music was flawlessly selected, and Text Coach Meredith Ernst conveyed excellent translations of iambic pentameter. Sebby Woldt (Sound), Derryl (Lighting) and Rose Johnson (Scenic Design) generated an impeccable environment to sustain both the indigenous tragedy of HAMLET as well as Kent’s comic interpretation – no mean feat, that! In addition, have I mentioned that HAMLET was performed in the round?!  I felt smug at having got a seat in the perfect spot – until several people seated elsewhere said the same thing. How did dey do dat?

No, I haven’t forgotten Costume Designer Madeline Felauer, I was just saving the best for last. Felauer chose to bedizen the characters with a surrealistic thread. Hamlet wore a shapeless moth-eaten sweater, while Queen Gertrude was in a dress Jackie Kennedy might have worn, a mink stole, and 3” pumps. For Ophelia, picture an exceptionally odd floor-length orange fishnet … um, thing … over a miniskirt. Other characters ran the gamut from ugly plaid business suit to crisp, scarlet-trimmed military-style jacket, and blue jeans abounded. Overall, the effect coordinated perfectly with the mind-f*ck tragedy cum farce aspect of the production.

And of course, nothing gets to the box office without the guidance and oversight of a good Stage Manager. I once asked a friend with lots of theatre experience, “Just what does a Stage Manager do, anyway?” to which they replied, “Everything.” So … Tessa Huber did Everything, with a lil’ help from Assistant Junipero “Juni” Cruz.

I hope you have gleaned from this that I really reeeeeeally liked Red Theater’s HAMLET. This gig as a reviewer has certainly broadened my artistic horizons, particularly of The Bard. Everyone knows Shakespeare was a magnificent playwright, but I suggest that one can’t truly appreciate his works until you’ve seen them produced on Chicago’s iconic storefront stages with cast from Chicago’s wicked assemblage of outstanding actors.

I leave you with two take-home messages: (1) keep your skittles in your pocket; and (2) SEE HAMLET!!!

Playing at The Edge Off Broadway Theater Mondays and Wednesdays through Saturdays at 7:30, and Sundays at 3

Running through Sunday May 19.

VERY HIGHLY RECOMMENDED!  

And with more than a dozen performances coming up you have no excuse not to go!