By Julian J. Frazin
Retired Cook County Circuit Judge . Entertainment Critic
May it please the court …
If you have been enjoying the latest reality show, also known as the Republican presidential primary debates, then you will probably appreciate Irish playwright Enda Walsh's "Penelope" recently produced on the main stage at Steppenwolf Theatre Co., 1650 N. Halsted St. It is Walsh's modern adaptation of the final chapter of Homer's "Odyssey," in which the Greek hero Odysseus returns home and rescues his wife, Penelope, from four surviving suitors who remain from the hundred men who sought to win her hand.
Though the mighty and powerful Odysseus never appears in this production, his ominous presence is felt by the four men. When we first encounter the four, they are lounging about the bottom of a drained, abandoned swimming pool, beneath the living quarters of the lovely, ageless and aloof Penelope, played by Logan Vaughn. Each is clad in a pair of ridiculous-looking, Speedo swimming briefs. There is Burns (Ian Barford), the bespectacled, subservient 30-something, the youngest member of the group, who is being dominated by Quinn (Yasen Peyankov), a brash, powerfully built man in his mid-40s. Scott Jaeck appears as the 50-ish, pompous, theatrical and flabby Dunne. And there is the reticent, bookish, drug dependent Fitz (Tracy Letts), in his mid-60s, who has survived with the others in the quest for Penelope.
Though the author never intended this to be the case, you could certainly be excused for seeing in this quartet of competitors a touch of the young Rick Santorum, the bullying Rick Perry, the pretentious Newt Gingrich and the dubious Mitt Romney. This is particularly true when you consider their discussion of "The Magic Porridge Pot," a children's book, in which a little girl commands a pot to continue to cook porridge without end, causing the town to become awash with porridge. Quinn sees it as the only book to speak clearly on "the fast development of an unstable economy" in that it demonstrates that "a pot that gave and gave to a community that took with no notion of responsibility or future would grind to a standstill." Fitz disagrees, arguing that the magic pot lifted the people out of poverty. But then Dunne agrees with Quinn that what is needed is regulation.
There is no further discussion of world economics, as the men go back to bickering among themselves to determine who should prevail. That is, until the day they discover that the night before each has had the identical dream in which Odysseus returns and slaughters them all. Seeing the coincidence as an ill omen, they realize the only hope for their future is for any one of them, with the help and cooperation of the others, to win over Penelope and become her husband.
One after the other they make their strongest effort, but just as Fitz, with his halting and inarticulate sincerity appears to be close to winning, the obstreperous Quinn thwarts his endeavor. What follows are chaotic scenes of violence and erratic behavior.
Amy Morton does a superb job directing this astonishing ensemble cast in a sometimes profound, often bizarre play. Walt Spangler sets the scenic design specifically as described in the stage directions of Walsh's perplexing script and the forced peppiness of music by the Tijuana Brass.
This frequently verbose drama of intense rivalry brings to mind Shakespeare's lines —"Life is but a walking shadow, a poor player, that struts and frets his hour upon the stage and then is heard no more. It is a tale told by an idiot, full of sound and fury, signifying nothing." Yep, just like a political campaign.
“The Doyle & Debbie Show.”
On the brighter side, head directly across the street to the Royal George Theatre, 1641 N. Halsted St., for the surprise comedy hit of the year — "The Doyle & Debbie Show." Created by Bruce Arntson, who stars as the washed-up, alcoholic, one-hit wonder Doyle, this hilarious spoof of country-western duos has been extended many times, much like "Forever Plaid," that very successful little musical that played this same venue years ago. Jenny Littleton is sensational as the "third Debbie," an unmarried mother of three who must make her Nashville club debut while her children wait outside in the car. Matthew Carlton is a riot as their reluctant accompanist and Doyle's seen-it-all caretaker.
Though the tunes sound familiar, all the songs are original and the politically incorrect lyrics are beyond clever — including "Barefoot and Pregnant," "Blue Stretch Pants" and "Fat Women in Trailers." There is a bar in the back and drinking is encouraged.
I rest my case.
Final verdict:
"Penelope": Three Gavels
"The Doyle & Debbie Show": Four Gavels