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Fans packed into the University of Maine’s Experimental Black Box Theatre last weekend to see the gruesome production “The Pillowman.” With no more than 100 seats in the theater, audience members spilled onto the floors gasping and laughing through every moment. The production took place in the center of the room, with the audience sitting on three of the four sides, none farther than 20 feet away from the action.
“The Pillowman,” a play deemed too inappropriate and mature for the Maine Masque Theatre Company, was directed by fourth-year psychology student Lydia Dawson. She reveled in the opportunity to head the controversial, gritty play.
Irish playwright and director Martin McDonagh wrote “The Pillowman,” and it premiered in 2003 at the Cottesole Theatre in London, England. McDonagh, director of 2008′s surprise comedy “In Bruges,” is definitely a master of both the big screen and the small stage. His material is violent, touching, hilarious and vulgar.
Last weekend’s production was marvelously well-acted. Tom Sagona played the lead, a character strangely named Katurian K. Katurian. Katurian is an aspiring writer whose work often involves children being mutilated or killed in some grisly fashion. His mentally challenged brother, Michal, played perfectly by Anthony Arnista, takes these stories to heart and seemingly acts them out in real life.
The particularly gruesome murders involve chopping off a little boys’ toes with a meat cleaver, shoving apples filled with razor blades down a girls’ throat and standard crucifixion. Not the most pleasant things to think about, but that’s the beauty of “The Pillowman.” If an author pens material which inspires someone to go out and murder someone else, is the author to blame? Should we censor literature in hopes of preventing murder or political revolt?
Sagona and Arnista both nailed the parts, especially Arnista, who was oddly reminiscent of Dustin Hoffman from “Rainman.”
In his sweater-vest and little red bow tie, Arnista seamlessly moved from a deceitful brother to a loving, innocent child. Detectives Tupolski and Ariel, played by Derek Frances and Karl Livonius, respectively, provided support for the brothers – funny, sarcastic and rather complex themselves.
Another strong point for “The Pillowman” was its courage and attempt to become more than just a play.
A background screen was used often, projecting images from some of Katurian’s books. Behind the screen, there were live actors. When the spotlight shined on them, they could be seen acting out Katurian’s stories. It was a phenomenally rewarding tactic.
With hardly any set changes and only a short intermission, “The Pillowman” was carried by some extraordinary acting. From emotional confessions, to plots of revenge, to the bloody finale, audiences experienced everything up close and personal. The intimate setting allowed the audience to see dripping blood from a gunshot wound and feel the tears of a betrayed brother. Statements like, “Wow, that was intense,” or “I’ve never experienced anything like that before,” buzzed through the crowd when the final lights went up.
Dawson and company proved that a play can be graphic, violent and obscene while also being touching, funny and thought-provoking. The Experimental Black Box Theatre proved the perfect venue for the production, a spot which needn’t go unused in the future.
