|
The Good Thief
By Conor McPherson
Directed by John Gawlik
At The Gift Theatre
4802 N. Milwaukee Ave
Chicago, IL
Call 773-283-7071, tickets $20 - $25
Thursdays. Fridays & Saturdays at 8 PM
Saturday Matinees at 3 PM
Running time is 65 minutes with no intermission
Through July 1, 2006
Michael Patrick Thornton’s triumphant return to the stage is a lesson in courage
Next to the word: COURAGE in the dictionary there should be a photo of Michael Patrick Thornton. This 27 year old has endured more pain and suffering over the last few years than most folks accumulate in a lifetime due to a series of near-fatal spinal strokes that left him paralyzed. Thornton miraculously battled back learning to talk and walk once again. During his personal struggle, his theatrical urges led him to keep The Gift Theatre (he is a co-founder) going through inspirational leadership and his direction of several plays. Thornton never lost sight of his goal to resume his acting career.
 |
When the lights come up at the intimate Northwest Side store front theatre, we see a tall thin bearded man painfully negotiating at walker to center stage, removing his sweatshirt; carefully sitting on a rickety chair while opening his gin bottle. After a long taste and smart smile, Thornton is ready to tell his tale. By that time, he owns us as we are riveted to his side. He is home where he belongs – on stage, doing an Irish monologue.
Michael Patrick Thornton, still suffering but healthy enough to perform, so completely commands the stage that he becomes the ‘paid thug’ from the depths of Dublin’s underworld depicted in Conor McPherson’s 1994 65-minute one act. Like any wild Irish story, The Good Thief is part truth, part Irish blarney with gobs of subtle Irish humor and loads of truth thrown in. Thornton’s tale of a crime gone terribly wrong that leads to a near death experience and years of physical and emotional damage is grounded in Thornton’s actual experience. I see now why he picked The Good Thief to remount his acting career.
 |
Thornton quietly tells his tale in between belts from his gin bottle in an understated, controlled manner relating how he only attempted to scare Mitchell not kill him and his guards. Thornton deftly projects the thug’s anger, remorse and sense of irony as he rationalizes his actions that day. What makes Thornton’s performance so compelling besides his flawless low-class Dublin brogue, is his subtle sense of ambiguity. Is he an immoral criminal or a simple man caught in a survival mode? Is he love starved or a cruel animal?
Thornton smoothly, with a tilt of the head or a slight change of tone, moves from irony to remorse to rationalization as he totally thrills us with the thug’s story. Only an actor with the craftsmanship and skill Thornton possesses could deliver as powerfully nuanced a performance as he does with the complex text McPherson penned. The gleam in Thornton’s eyes and the smile that grows as the story unfolds alerts us to the satisfaction Thornton exudes as he shares his love of performing with our love of wonderful acting. This interaction is infectious; some have it, most don’t. Thornton’s charisma is marvelous. He deserves to be on stage and the stage needs him. When you hear folks cry about where are the new theatrical talents? Send the to 4802 N. Milwaukee to see Michael Patrick Thornton mesmerize audiences. Welcome home, welcome back to the stage, Michael. The theatre missed you.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: May 27, 2006
Jeff Recommended
|
