Displaying items by tag: Lilly Tukur
Winning Direction Anchors Caryl Churchill’s Hilariously Disturbing Play, Love and Information
Directors say Caryl Churchill’s Love and Information is a challenging play, but in good hands, it is a treasure. And this is what we have at Trap Door Theatre’s production – an absolutely enthralling experience directed by Kim McKean.
It is like a tightly scripted improv show, packed with familiar personalities, some of them offbeat, playing roles that could share the stage in Lily Tomlin’s “Search for Intelligent Life in the Universe.” McKean’s accomplishment becomes clearer when you realize Love and Information brings us more than 100 sometimes loosely identified characters, mostly appearing as couples or trios, in a series of short scenes that end in blackouts.
These are gathered into seven sections, and within each, Churchill requires the director to set the order of the scenes and assign the roles. To further spice it up, the script packs an eighth section of scenes intended to be sprinkled at will in the show wherever they seem to fit.
And those scenes! Listing heavily toward couple encounters, Churchill shows us how information becomes a form of emotional currency in relationships. Couples share (or withhold) knowledge, leveraging it to gain power, debilitate, bond – or just plain flirt. A representative sample:
- A girl whose rare nerve condition doesn’t let her feel pain asks a man to explain what pain is. (He compares it to a failed love affair.)
- A man tries to impress an adoring girl by describing his research in animal learning, but ends up clinically describing dissection of chicken brains involved in his work. (She is not put off.)
- An aspiring male suitor brings a young girl a red flower. On his knees as her feet, his heart is full and open. She thanks him for it, profusely. Then too profusely, launching into a rattling, seemingly endless manic riff about how we see red, things they will do together, envisions a day trip on a train….as she goes on and on, he wilts.
Admittedly it is difficult to describe humor, and really which Churchill gives us is a dark and coldly clinical look at the world and those we share it with. Love and Intelligence doesn't traffick in sentimentality. It opens with a scene in which people are moving mechanically and seemingly inexplicably on the stage. A man enters the crowd, apparently paranoid. Then the electronic dance music rises and we see it is like a dance floor at a rave, and suddenly everything makes sense - but Churchill has pulled back the curtain and we cannot unsee the uncomfortable social aspects of that dance floor. A Here's a sample scene with a man who doesn’t recognize his wi
But I am your wife.
You look like my wife.
That’s because I am. Look, even that little birthmark behind my ear. Look.
Yes, I see it. It’s me.
Darling sweet, it’s me. I’m here.
No, she’s gone. They’ve all gone. Who’s gone?
Everyone I know. Everyone who loved me.
No, I love you.
I don’t want you to love me, I don’t know you.
There’s things only we know, aren’t there. That day on the beach with the shells. You remember that? Yes, of course. And cabbages. Why is cabbages a funny word, we’re the only ones who have cabbages as a joke because of what happened with the cabbages. Cabbages is a joke, yes?
Cabbages was a joke I shared with my wife. I miss my wife.
But I am. . . Let me touch you. If you’d see what it feels like to touch me. If we made love you’d know it was me because there are things we like to do and no one else would know that, if I was a stranger pretending to be her I wouldn’t know those things, you’d feel you were back with me, you would I know, please.
You disgust me. You frighten me. What are you?
Director McKean has made the most of this formula, selecting and ordering carefully from this smorgasbord of very fine writing, packing dozens of carefully honed mind-bending scenes by Churchill. Among Britain’s top ranking playwrights, Churchill is known best known this side of the Atlantic for her Cloud Nine or Top Girls. Most recently Chicago had a chance to see her Dark Mirror-style A Number, a stunning 2012 thriller produced at Writer’s Theatre in Glencoe last year. And McKean also brought in a spectacular cast, willing to go with a blank slate that evolved into this fine show: Whitney Dottery, Jake Flum, Brian Huther, Emily Lotspeich, Michael Mejia, Emily Nichelson, Keith Surney, Lilly Tukur, Carl Wisniewski. Love and Information runs Thursdays, Fridays and Saturday’s through October 19 at Trap Door Theatre, 1655 W. Cortland in Chicago.
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