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‘Pillowman’ at the Playhouse
Dark comedy marks exciting new phase in continued revitalization
Martin McDonagh’s dark comedy “The Pillowman” marks the second production in the Youngstown Playhouse’s highly-touted Griffith-Adler Actors Series.
Winner of the 2004 Olivier and New York Drama Critics’ Circle awards for best new play, “The Pillowman” is provocative, grown-up fare for discerning audiences.
In a recent interview, Playhouse Executive Director Mary Ruth Lynn (who’s also directing) discussed the special challenges of McDonagh’s play, and why it marks an exciting new phase in the Playhouse’s continued revitalization.
Q. You inaugurated the Griffith-Adler series last November with the successful run of “My First Time” directed by Rob Joki. “The Pillowman,” however, is a considerably tougher show from a marketing perspective. What do you think is the biggest challenge — aside from Northeastern Ohio’s unpredictable January weather — in attracting an audience for a show as “difficult” as “Pillowman”?
A. Marketing any production has challenges, and that is definitely true for “The Pillowman.”
We are targeting a savvy audience looking for a night of theater that will challenge them, move them and initiate dialogue about the controversial content of the work.
This play is well known in theater circles, and with patrons who might frequent New York City’s off-Broadway scene.
I believe the title itself — and the fact that it’s actually being produced in this area — will help draw an audience.
Q. Who selected “The Pillowman,” and what attracted you to the material?
A. I was instrumental in suggesting “The Pillowman” for the inaugural season of the Griffith-Adler “Actors Series.”
I’d read it previously, and found it to be compelling, funny (yes, there is humor), thought-provoking and a challenge for the actors and myself.
Great theater is great story telling, and this piece is all about the storytelling.
It also delves into the controversy of what constitutes art — how art, in any form, impacts individuals and society as a whole, and what society’s responsibility is — or does it even have one?
This piece also speaks to the great lengths an artist will go to in order to protect his art.
I love the power of this play, and I love that people will leave the theater with something to discuss.
Whether you hate it or love it, you WILL talk about it.
I read an interesting description of the play in a review: “‘The Pillowman’ is Grimm’s fairytales meeting Stephen King.”
I think that’s an apt description.
Q. Could you give us a brief synopsis of the plot?
A. Katurian, a writer, and his brother, Michal, have been brought to an interrogation center where they are being questioned about recent gruesome murders of children that are eerily similar to Katurian’s stories.
The brothers come from a dysfunctional home, and Michal is brain-damaged due to parental abuse.
Topolski and Ariel, the lead detectives on the case, will go to any means to get answers, including torture.
In an effort to save his stories, Katurian confesses the murders and accepts his fate (execution).
In Katurian’s eyes, his life is less important than his art.
I realize this is a fairly simple synopsis but, for those who don’t know the play, I’d rather they discover the more shocking moments on their own.
Q. Who’s appearing in the show?
A. I was very fortunate to have some gifted actors audition for the show.
Katurian is played by John Cox; Michal is played by Johnny Pecano; David El’Hatton has the role of Detective Topolski and Jason Green steps out of his usual musical comedy zone to take on Detective Ariel.
This is ensemble theater at its finest.
Q. “The Pillowman” is a sophisticated play requiring relatively complex lighting, set and sound design. Will the space/technical restrictions of the Moyer Room pose any special challenges to your job as director?
A. This play is often done with a multilevel set and complex lighting design.
Due to the space constraints of the Moyer Room, we had to be creative in terms of presentation.
We have a simple set and basic lighting, but will be using a combination of children’s drawings and music box sounds to create an interesting and chilling backdrop for the production.
It will be staged on three-quarter thrust, with the audience on three sides actually creating the walls of the rooms.
I think it’ll work beautifully.
Sometimes, stripping something down to its bare essentials allows the audience to focus on the play and the story, not the visuals.
Q. Unless you were sitting in the first row, there were some sightline problems with “First Time.” Has an elevated stage been constructed in the room for better visibility?
A. Yes, there were a few problems with visibility for “My First Time.”
Our audience size was greater than anticipated, so we ended up having to add seating.
“The Pillowman” set is on a platform — obviously not too high due to our low ceiling.
We’re also going to rake the audience so that the back rows will be up a level.
This should allow for fine visibility throughout.
We’re still in our infancy in terms of using the space and finding the right balance between the “stage” and the audience.
The space is extremely flexible, though, and we’re just beginning to explore myriad possible configurations.
Q. “The Pillowman,” “Of Mice and Men,” “That Championship Season,” even “Oliver!” The Playhouse seems to have a lot of testosterone-heavy shows opening back-to-back this year. Was that a deliberate choice, or merely a coincidence?
A. Yes, we do have a predominance of male-dominant plays coming up.
It didn’t happen intentionally.
The shows that people wanted to do this season just happened to be ones with a lot of male roles, and scheduling ended up putting three of them back to back.
They’re all cast with strong actors, however.
But we did provide two great roles for leading ladies in “Chicago,” “Inspecting Carol” had good roles for women and our closing show of the Main Stage season (“Dixie Swim Club”) has an all-female cast.
My main goal for the remainder of the season is to continue giving our audiences quality productions, and to find creative ways to bring in operating dollars so that The Youngstown Playhouse can continue to thrive.