Watching them is like seeing a cast spawned from characters by Edward Gory and Jules Pfeiffer.
The story is of Tilly (Alys Dickerson), a bank teller, who has been ordered to undergo psychotherapy by her employer, to cure her melancholy. But her melancholy is her most attractive feature, causing her therapist, Lorenzo (Martin Diaz-Valdes), her boyfriend, the tailor Frank (Kris Downing) and her hairdresser Frances (Rachel Soglin) to fall in love with her.
Set in the present but in keeping with the 19th century flavor of melancholy, Tilly’s cadre of devotees save locks of her hair, bottles her tears, and generally celebrate her sadness. At all times there is a divan available for periodic swooning - and of course, therapy.
The plot turns, however, when Tilly is cured of her melancholy and becomes happy. Her friends are crushed, and the farce sparkles in their reactions. Every cast member turned in memorable performances. Kris Downing stood out in conceiving and mastering the very restrained tailor Frank. And Alys Dickerson’s Tilly is the fire of the play. But I fell in love with Rachael Soglin. As the hairdresser Frances she brings to mind the actress Sally Hawkins (the mute woman who befriends the sea creature in Shape of Water.) Talia Langman stepped in for Stephanie Sullivan the night I attended and was wonderful in the role of Frances’ paramour, Joan – a British nurse.
Directed by Laura Sturm, this Organic Theatre rendition of Melancholy Play features a musical score and arrangements by composer/sound designer Tony Reimer (played from recordings). The music is perhaps a nod to Ruhl’s 2012 adaptation of the 2002 original into a “chamber musical” withd a string quartet scored by Todd Almond. As well, Organic's production features a live cellist, who is also a character (Michaela Voit as Julian) serves as commenting chorus with musical interjections. Though set way back on stage, Voit gains attention with her occasional arresting grimaces and glares. Also notable in the production are the simple and elegant sets by Terrence McClellan and the costuimes by Julane Sullivan are notably elegant and arresting.
Sarah Ruhl’s artistic vision frequently takes precedence over conventional presentation, and she is not afraid to drop in magical realism as needed, which may not be to everyone’s taste. But taken as a whole each of her plays (Dead Man’s Cellphone, The Clean House, The Vibrator Play, Eurydice, etc.) is a memorable evening. That said, I highly recommend Melancholy Play. It runs through April 14 at the Greenhouse Theater, 2257 N. Lincoln in Chicago.
