Carin Silkaitis, Julie Proudfoot, Millicent Hurley, Maggie Cain and Sarah Wisterman/Photo: Kat Tushim
Told at various points in the life of Penny (Sarah Wisterman), what supposedly draws the five women of “Visiting” together is the history left by the unseen matriarch of their family. This history and their intimacy with it, however, is poorly communicated. Between the panicked, stock manic episode Penny suffers (complete with strobe lights and sirens, a motif that adds nothing to our experience of these episodes) and the long-winded monologues that each character has about their pain and traumas, there’s an admirable heart here, though it’s impossible to suss out any coherent meaning.
Part of this is due to the cast appearing underrehearsed (with the exception of Carin Silkaitis who livens up the show with real emotions). Additionally, the directing has these actors walking around translucent drapes or a picnic table when a character is supposed to be feeling… well, something.
But these pieces are problems of a show that has no train of thought. There is no real strand that keeps anyone engaged, including the actors. It is stiff, hard to watch and wholly unchallenging. The drama is high stakes: so much is revealed between Penny and her family, so much said but so little done. If you were to mark out moments of real action in the play, you might find only inoffensive bits such as bringing a cake out or drinking from a flask. Decisive movement in this play (both on the emotional and physical landscape) does not exist.
Playwright Ed Proudfoot seems to point out little more than the fact that mental illness makes people’s lives hard. And he didn’t even convince me of that. While the keywords of “mental illness” are constantly echoed by the actors, they ring hollow. (Jay Van Ort)
Artemisia at The Edge Theater, 5451 North Broadway, (312)725-3780, artemisiatheatre.org, $25. Through May 7.
Related Stories
Them/Us/All: A Review of Self-Accusation at Theatre Y Beyond the window, the show is happening.
Once Again And Better Than Ever: A Review of Once at Paramount Theatre The Tony Award-winning musical gets its regional premiere at Paramount Theatre in Aurora.
What You Need: A Review of The Fly Honey Show Erin Kilmurray's queer feminist cabaret/variety show extravaganza, celebrating its tenth season, is a raucous, righteous balm for the weary soul.
Nearly But Not Quite: A Review of She Loves Me at Marriott Theatre Miklós László's play “Parfumerie” continues to give birth to charming, heartfelt comedies where the leading characters are of an everyman quality, allowing audiences from the multiple social strata of life to see a reflection of themselves as the leading lady and man fall in love with each other, despite obstacles presented by fate and the miscalculation and manipulation of others,…
Everything is Available, Everything is Here: A Review of In a Rhythm by Bebe Miller “In a Rhythm” offers a broad cross section of our cultural moment cut by the critical empathy of Miller and her collaborators. The effect is a powerful artistic experience that leaves the audience openhearted and with a greater sense of connection.
Is It? I Think So: A Review of It Is Magic at Theater Oobleck Mickle Maher's new play investigates the balance between the alchemical and nihilistic forces alive in the theatrical arts.
