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The Unmentionables
By Bruce Norris
Directed by Anna D. Shapiro
At Steppenwolf Theatre
1650 N. Halsted
Chicago, IL
Call 312-335-1650, tickets $20 - $60
Tuesdays at 7:30 PM
Wednesdays at 2 & 7:30 PM
Thursdays at 7:30 PM
Fridays at 7:30 PM
Saturdays at 3 & 7:30 PM
Sundays at 3 & 7:30 PM
Running time is 2 hours, 15 minutes with intermission
Through August 27, 2006
The Unmentionables is another gem from provocative playwright Bruce Norris
Bruce Norris and Steppenwolf Theatre in collaboration with director Anna D. Shapiro have produced another terrific and quirky play that comes close to being as good as the 2005 Jeff Award winning The Pain and the Itch. The Unmentionables is full of biting humor, dazzlingly characters in a provocative story that reveals the contradictions inherent in human response to a crisis. Norris once again demonstrates his knack for blunt honesty in character development.
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Set in a tiny west African country at a posh villa owned by American entrepreneurs (outstanding set design by Todd Rosenthal), The Unmentionables is look at people trying to find themselves in a foreign land. They come to Africa to either: make a fortune while offering jobs to help develop the primitive African economy or as Christian evangelist determined to feed and inspire the poor people toward self-determination. They are helped by a corrupt local government administrator and a hash-smoking native doctor employed by the American industrialist. Norris deftly paints a portrait of each by creating them as memorable characters whose quirkiness hides their hypocritical, contradictory attitudes toward Africa and its people.
From the devout minister, Dave (Lea Coco), the youthful idealist and pure Christian fundamentalist, threatens the cooperation and the status quo by stirring by his poor parishioners. His older, ex-TV star fiancé, Jane (Shannon Cochran) can’t adjust to the primitive conditions of the mission and relishes her stay at the posh villa. Nancy (Amy Morton), the flamboyant, obnoxious wife of the American entrepreneur bursts onto the set spouting complex anecdotes in an “I, me my” jibber-jabber that is quite funny. Morton steals many scenes with her goofiness.
When Jane feigns sickness, the doctor, (Kenn E. Head) treats her with blunt objectivity. The commanding native government official, Aunty Mimi (Ora Jones) is the American’s friend and collaborator in keeping the status quo. Don (Rick Snyder) is the American industrialist bent on making everything seem okay, especially in his home. He is oblivious to the plight of the poor and the effects on the environment from his manufacturing plant.
Much of the play is a series of humorous exchanges where Norris has his characters expound their beliefs, principles and motivations for being away from home and in Africa. Theses folks have chosen to come to Africa to “do good,” either by stimulating the local economy or by the religious and educational evangelism. They are ‘hero want-to-be’s.’ The native doctor (Kenn E. Head is terrific as the bluntly honest detached doctor) who sees through the subtle arrogance of the Americans and asks: “Why come here? Couldn’t you find no poor people in your country?” Norris suggests that Africa offers the platform necessary for the making of heroes.
We see how the local government uses harsh treatment, including torture to maintain power. When Dave, the missionary, apparently is kidnapped by the rebels, Etienne (Jon Hill), a native teen and suspect rebel is captured and interrogated by Aunty Mimi’s military aids.
We witness outstanding ensemble work (a Steppenwolf trade mark) where comedic instincts work with emotionally charged performances. Shannon Cochran and Rick Snyder were effective; Amy Morton was a splendid, while Ora Jones owned her scenes. Kenn E. Head landed much bittersweet humor nicely. Jon Hill was scary as the teen rebel.
The crisis of having one of their own missing in a strange, hostile land brings out their true character as each American has to come to terms with their beliefs in the face of a crisis of survival. When threatened, do they abandon their principles to their self-interest? The question becomes how to get the teen to confess to the kidnapping of Dave. After all, he did have Dave’s cell phone. The Americans and Aunty Mimi must decide if torture is appropriate to gather the information about Dave. Only the doctor refuses to participate in the crisis, stating “There is nothing I can do…People will do what they want to do. It is what they have always done…Goodnight.”
We see true character emerge as the crisis plays out. Do principles win or does basic survival pragmatism prevail? Norris smartly resolves the dilemma. You’ll need to see the play for the details. The Unmentionables is Norris’ cautionary tale addressing how our actions say who we are, not our declarations of principle. Accountability for our actions says who we really are. This is an intelligent work worth your time.
Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: July 8, 2006
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