Lead performance lets down promising premise
Awareness of Autism Spectrum Disorder is far more prevalent now than it was in the early 90s, when Beautiful Autistic takes place. Nevertheless, it still isn't easy to identify a person on the spectrum because the symptoms are so varied, so Scott Woldman's world premiere play serves an important role in further increasing awareness.
The piece jumps around in time, exploring seminal events from Jimmy's childhood as well as the weeks after he meets Eric. The childhood moments tend towards drama whereas the adult portions lean towards the comedic side, particularly with Eric having difficulties navigating social mores himself. Title projections introduce most scenes to help the audience follow the jumps in time, but there's still something about the scenic sequencing that doesn't quite work in the order they're presented.
Harazin's performance as the lead character doesn't work well either. Obviously with varying symptoms on the autism spectrum, there are lots of different valid directions to take the character. Harazin's choices lack subtlety. All of Jimmy's mannerisms - from a big awkward laugh at his own jokes to a repetitive flailing left arm - are so theatrical that the many other characters he meets over the course of the play should have some idea that he has a behavioral disability when the idea is that people who approach him shouldn't immediately understand how he is different. The possibilities for a subtler expression of autism include monotone voice, lack of eye contact, awkward posture, or a stoic countenance, just to name a few. Harazin avails himself of none of these tools, which somewhat sabotages the narrative and thematic structure of the play.
Hager and Wendi Weberexcel as Jimmy's best friend and mother, however, reacting authentically to Harazin's larger-than-life Jimmy. Hager exudes desperation and creates a layered sympathetic character that has been told he's ugly all his life. Weber counterbalances her character's frustration with Jimmy's constant summons with an intense love of her child. Clare Cooney, Nathaniel Andrew, and Arti Ishakprovide yeoman's work in numerous roles that mostly serve the plot.
Woldman's script brims with humor that the cast is able to realize well. They are able to navigate from that to serious moments successfully, too. The play avoids clichés and doesn't offer up any easy answers to the problems faced by those with autism, or the difficulties faced by their friends and family.
As someone who identifies as being on the higher-functioning end of the autism spectrum, I found myself hyper-aware of my own quirks and nonconformities during intermission and after the show. This speaks to the power and authenticity of Woldman's script and the cast's ability to play off each other. I can't help but feel like a re-sequencing of the scenes and a more nuanced performance from the lead actor would turn an interesting production into a must-see.
Beautiful Autistic continues through March 13th at Chicago Dramatists, 1105 W. Chicago (map), with performances Thursdays-Saturdays at 7:30pm, Sundays 3pm. Tickets are $18-$33, and are available by phone (312-633-0630) or online through BrownPaperTickets.com (check for half-price tickets at Goldstar.com ). More information at ChicagoDramatists.org. (Running time: 2 hours, includes an intermission)
behind the scenes
Tags: 16-0233, Andy Hager, Arti Ishak, Chicago Dramatists, Chicago Theater, Chris Rickett, Clare Cooney, Jeff Pines, Jennifer J. Thusing, Kate Setzer Kamphausen, Katie-Bell Springmann, Keith Glab, Liam Fitzgerald, Nathaniel Andrew, Nicholas Harazin, post, Rachel Edwards Harvith, Sarah Putts, Wendi Weber
Category: 2016 Reviews, Chicago Dramatists, Keith Glab, New Work, World Premier