Crime and Punishment
Adapted by Marilyn Campbell and Curt Columbus
From novel by Fyodor Dostoyevsky
Directed by Richard Cotovsky
at Angel Island, 735 W. Sheridan (map)
thru March 16 | tickets: $20-$25 | more info
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Dull and plodding adaption
Mary-Arrchie Theatre presents
Crime and Punishment
Review by Lauren Whalen
Mary-Arrchie Theatre Company has an excellent reputation in Chicago – their Glass Menagerie was one of Chicago Theater Beat’s Top 10 picks for 2013, and I have fond memories of their much-extended 2012 production of Tracy Letts’ Superior Donuts. They are a testament to the small but mighty storefront, the scrappy underdog who wins in the end. Unfortunately, their season opener Crime and Punishment fails to meet expectations. Though only 90 minutes, this adaptation of the classic Fyodor Dostoyevsky novel seems endless – the characters both unsympathetic and uninteresting and the direction uninspired.
At its heart, Crime and Punishment is the most Russian of Russian literature. Questions about God, brutality and guilt reign supreme, and the story is so dark, it’s basically one continuous blackout. Dark stories can be fascinating and eye-catching – look at the popularity of “American Horror Story”, the recently canceled “Dexter”, and the various incantations of “CSI”. Characters don’t necessarily have to be likable or sympathetic; they only have to be interesting. The problem with Raskolnikov is that he’s definitely not likable, and his constant whining crosses “interesting” off the proverbial list as well. Porfiry, with his use of psychology in interrogation and pursuit, could be compelling, but just appears doddering, and Sonia is mainly reduced to stating proclamations about family and asking Raskolnikov whether he believes in God while he judges her for prostituting herself to feed her family. (In the meantime, he mooches off his retired mother). For a story in which a murder happens, there’s not much action and a whole lot of talking – this isn’t bad in and of itself, but the dialog in Marilyn Campbell and Curt Columbus’ adaptation drags and drags. And Cotovsky’s direction has Raskolnikov jumping back and forth – from past to present and from the police station to his apartment – which is jarring and clumsy. Of course space limitations play a part, but there had to be a better way to interpret the story.
Though the script and direction lag, the three-person cast fares quite well. McCabe’s detective is equal parts paternal and dogged. Yasko plays the martyr Sofia with an articulate grace, and breathes life into a crotchety pawnshop owner and a shy young woman. Though Raskolnikov is thoroughly despicable, Porter does an admirable job of highlighting his quirks and contradictions. John Holt’s set conveys a worn-down cell and a messy apartment with falling-to-pieces accuracy, so well that I could practically smell the urine and filth of both environments.
Hopefully Mary-Arrchie will be back on track with its next production. Their crop of excellent actors, designers and directors usually make for wonderful work. However, Crime and Punishment is thoroughly unsatisfying. Maybe it’s the source material, but the overall effect is thoroughly depressing.
Rating: ★★
Crime and Punishment continues through March 16th at Angel Island, 735 W. Sheridan (map), with performances Thursdays-Saturdays at 8pm, Sundays 7pm. Tickets are $20-$25, and are available online through TicketWeb.com (check for half-price tickets at Goldstar.com). More information at MaryArrchie.com. (Running time: 90 minutes, no intermission)
Photos by Emily Schwartz
artists
cast
Jack McCabe (Porfiry), Ed Porter (Raskolnikov), Maureen Yasko (Sonia)
behind the scenes
Richard Cotovsky (director), John Holt (scenic design), Stefin Steberl (costume design), Claire Sangster (lighting design), Mikey Moran (sound design), Elyse Cowles (literary manager, dramaturg), Mike Sanow (technical director), Tosha Fowler (production manager), Casey Peek (stage manager), Emily Schwartz (photos)
14-0210
