Entertainment :: Theatre
Mouse in a Jar by Joseph Erbentraut
EDGE ContributorFriday Oct 9, 2009 Sometimes, albeit rarely, a theater reviewer simply doesn’t know what to say. Words seem to fail to describe the experience of sitting in the audience of a show. Usually - when words like splendiferous or exhilarating fail to summarize a show’s brilliance - this is a good thing. In the absence of criticism, the reviewer trails off a rambling of compliments of cast, crew and leadership alike, and it’s a happy, happy thing.
Unfortunately, Red Tape Theatre’s Mouse in a Jar, now playing at St. Peter’s Episcopal Church is not one of those opportunities to indulge in exaltation. The play, written by Martyna Majok and directed by Daria Davis, tells the story of Ma and her two daughters, Zosia and Daga, who live in constant fear of a man - referred to as HIM - returning home ready for intoxicated battle.
Ma (played by Kathleen Powers) is consigned with being (literally) chained at the ankle to her dreary apartment, particularly when her oldest daughter leaves home unexpectedly. Her youngest daughter Daga (Tamara Todres) vows to rescue her mother from her world of fear and abuse, but her appeals fall on deaf ears.
The story line itself is not the problem, per se - a lot of the dialogue is really interestingly composed. Additionally, some of the actors - particularly Powers - offer incredibly riveting moments in their performance of a tense family dynamic. This is a family that has clearly been rocked by a misogynistic cycle of abuse and HIM’s presence juxtaposed with the quirky Fip (Ben Gettinger) delivers some much-needed breaks from the drama.
The show’s tension is aided by dramatic visual effects, music and props - such as the monstrous mask worn by HIM and a fantastically desolate set design by William Anderson. The sound of Ma’s ankle chain dragging along the floor is particularly effective, providing a soundtrack to her feelings of imprisonment and despair. This, accompanied by the ominous sounds and strange lighting effects, display strong technical skills, but the actors’ over-indulgent angst does not sustain interest.
All told, while all the makings are here for an avant-garde expose of human experiences of abuse are here, the show’s bizarre qualities are simply not bizarre enough to shock. Nor are the tender moments tender enough to make you truly feel. Many of these techniques have been seen before, and with more easily understood execution. The emotions somehow still felt distant.
The result is, simply, uncomfortable. Despite some strong performances and the interesting set - which makes the wise decision of placing the audience just inches away from the action in a variety of stage-side chairs - I left feeling mostly creeped out in all the wrong ways. But maybe that was the intention all along?
Mouse in a Jar continues through Oct. 31 at St. Peter’s Episcopal Church, 621 W. Belmont. For more information or tickets, visit www.redtapetheatre.org
Joseph covers news, arts and entertainment and lives in Chicago.
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