• Skip to primary navigation
  • Skip to main content

Newcity Stage

Theater, Dance, Comedy and Performance in Chicago

  • Newcity Stage ·
    • About
    • Advertise
    • Privacy Policy
    • Newcity Network
  • Sections ·
    • Newcity
    • Art
    • Design
    • Film
    • Lit
    • Music
    • Resto
    • Brazil
  • Newsletters
  • Subscribe
  • Log In
Newcity Stage logo

Review: How to Explain the History of Communism to Mental Patients/Trap Door Theatre

by Persephone Jones | April 13, 2016

by Persephone Jones
April 13, 2016June 15, 2016Filed under:
  • Recommended Shows
  • Theater
  • Theater Reviews
Pavi Proczko, Michael Garvey, Benjamin Ponce and Ann Sonneville/Photo: Bogdan Nastase

Pavi Proczko, Michael Garvey, Benjamin Ponce and Ann Sonneville/Photo: Bogdan Nastase

RECOMMENDED

“How to Explain the History of Communism to Mental Patients” is a strange organism. Despite the clear artifice, with design inspired by propaganda and all movement disciplined and staccato, this machine is dreamily oppressive.

It’s 1953, moments before Stalin’s death. Famed Soviet writer Yuri Petrovski (Pavi Proczko) has been introduced to a mental asylum in the hopes that his short stories about the history of communism will inspire the patients out of their ailments and encourage them to integrate back into the clockwork of Soviet society. Packed into the room at the end, Yuri writes.

There’s tremendous difficulty in describing what happens next. Yuri discovers the secret battleground of the asylum including the inmate bettors, the subversives hiding inside the open zone. As we move through the story, things lose their sense of reality. Or maybe we are simply not yet privy to the language that the asylum speaks. The strange hierarchies that preside over the asylum are opaque and often impossible to deconstruct.

Playwright Matei Visniec, a political dissident banned from the stage in Romania and offered safety in France as a political refugee, doesn’t deal with simple answers here. Though this piece satirizes Soviet Russia and the mindless passions of its advocates, eventually it seems to lose all sense of politic. Even as Yuri’s identity becomes lost deep in the hallucinatory landscape, Visniec’s goal ceases to be rhetorical.

The choice is interesting. By simply stating a viewpoint and then presenting a series of precise images, Zoltan Balaz’s direction gives us individual agency. The audience is forced to compose these images into a semblance of story or argument which is an act akin to unwinding a Cat’s Cradle.

The performers here deliver. Every movement is powerful and attentive. Even in the halting, you see the potential twitching in their fibers.

Marx was worried that spectacle would overtake reason. Trap Door says: Why not both? (Jay Van Ort)

Trap Door Theatre, 1655 West Cortland, (773)384-0494, trapdoortheatre.com, $20-$25. Through April 23.

Tagged:
  • Matei Visiec
  • Pavi Prozcko
  • Trap Door Theatre
  • Zoltan Balaz

Post navigation

Previous Post Review: The Misanthrope/Piccolo Theatre
Next Post Rutherford Sails Again: Pegasus Theatre Adapts Dr. Charles Johnson’s “Middle Passage”
Seven actors on stage, some standing and some kneeling, appear engaged in a dramatic scene. One woman with red hair gestures passionately, while others look at her intently. A cross and simple set pieces are in the background.

“The Man Who Fell With the Rain” Sells an Angel for Parts Trap Door Theatre puts on a simple yet powerful play based on a short story by magical realist master Gabriel García Márquez that makes one wonder if there's anything humans won't exploit.

Mary Wisniewski September 10, 2026
A person with short hair sits on the floor in a dimly lit room, hugging their knees to their chest and looking thoughtfully into the distance. Shadows and light create a dramatic effect around them.

“Green Corridors” Tells the Story of Ukrainian Displacement in a World Gone Mad Trap Door Theatre presents Ukrainian playwright Natalka Vorozhbyt’s uncompromising take on Russia’s ongoing brutalization of Ukraine as seen through the experiences of a group of refugees in Vienna.

Noel Schecter January 26, 2026

The Devil Doesn’t Get His Due in Trap Door Theatre’s Satanic Literary Satire “A Devil Comes to Town” is a bold but ultimately undramatic experiment in storytelling strategy.

Hugh Iglarsh November 12, 2025

Is “Dutchman” a Play Worth Reviving? Some good acting and interesting directorial choices can’t save Amiri Baraka’s misogynistic one-acter.

Hugh Iglarsh October 15, 2025

Newcity cover showing woman with red hair and bird-face, with nest and crow on top of head.

September Issue
Fall Arts + Art 50

GET A COPY

SUBSCRIBE

NewcityLogo.png
Facebook Twitter Instagram
  • About
  • Privacy Policy
  • Advertise
  • Subscribe
  • Newsletters
  • Chicago Film Project

Copyright Newcity Communications, Inc. © 2026