Jacob
Written by Timothy Gregory
Directed by Timothy Gregory and Lia Mortensen
Provision Theater, 1001 W. Roosevelt (map)
thru June 15 | tickets: $10-$32 | more info
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Perhaps Jacob shouldn’t climb this ladder
Provision Theater presents
Jacob
Review by Patrick Dyer
There’s probably no other source for adaptation or re-imaginings, than the Bible, with its wealth of timeless themes, stories, and characters – and it’s an even bigger source for theatrical adaptations and re-imaginings. From Andrew Lloyd Webber’s rock opera Jesus Christ Superstar to Howard Barker’s Lot and His God, it’s easy to see why these stories are often brought to the stage: the emotional weight of stories like Jesus, Lot, Moses, Esther, etc. are filled with heavy emotions that can fill an entire theater. And it’s even easier to see why these stories are often re-interpreted for a modern audience: to keep the heart of these stories alive. But does simply making a classic story more “modern” enough?
If the name “Isaacson” is an indication of how little subtlety there is in this play, Gregory makes it all the more apparent in his script and direction. He and co-director Lia Mortensen want to constantly remind you that you’re watching a “modern” Biblical story: from the obvious parallels of the characters’ names to the giant staircase that looks like a ladder, to a TV screen that constantly shows paintings depicting the original story and characters. Jacob also suffers from a severe identity crisis. The first act has too many passive moments of idle chit-chat between the cast, breaking any tension Gregory and Mortensen are trying to create, though there are occasional sparks of interest that keep the audience guessing what’s going to happen next. However, the second act is when the play completely goes off the rails when a repairman (Timothy Gregory) walks in and locks himself and Jacob in the house. What ensues is an over-the-top and overly long fight scene between the two men as they literally go all over the place from the upper levels to the stairs to the balcony to even dangling off the living room chandelier before the repairman shows that he is, in fact, God Himself. Gregory’s character makes Jacob fall flat because even though the repairman is supposed to make Jacob realize his mistakes like in the original story, it’s not believable because Jacob doesn’t come to the conclusion of his own actions or realization, and it takes too much time away from the central conflict: the relationship between the brothers. Eli only has one scene, and it’s too short and comes too late in the story to really have any impact. This plot twist may have worked in the original story, but it doesn’t work in this story because it wastes the potential for really engaging drama.
Gregory has assembled a cast of competent players even if they can’t quite escape from the script’s flaws. Mossman is passionate and committed to the title role, but had a tendency to rush through his lines at the performance I attended. Mortensen is competent as Jacob’s wife, Rachel, but her character doesn’t move beyond anything except the morally righteous wife stereotype. Matthews is another stereotype as Becky – that being the Jewish mother who talks too much – but she’s the strongest out of the whole cast and is the most dynamic. Kelly is appropriately thuggish as Eli and has a strong stage presence, but again he only has one short scene at the very end and it doesn’t give him (or us) enough time to really dive into his character. Armentrout is funny as Mike, but his only purpose, it seems, is to spout exposition to Jacob. His character could be cut, and the play wouldn’t lose anything. Rabe is competent as Josh, but even he can’t escape some disingenuous moments like how he asks Jacob if he and Eli are “gonna kill each other.”
There’s a clear drive and passion to this re-imagining of the Genesis tale, but there’s not much thought. This is a play in desperate need of subtlety because simply putting a timeless story in a modern setting is only getting half the job done. A reinterpretation is exactly that: a reinterpretation. Perhaps, this isn’t a ladder Jacob should climb.
Rating: ★½
Jacob continues through June 15th at Provision Theater, 1001 W. Roosevelt (map), with performances Fridays and Saturdays at 8pm, Sundays 3pm. Tickets are $10-$32, and are available by phone (312-455-0066) or online through OvationTix.com (check for half-price tickets at Goldstar.com). More information at JacobThePlay.com. (Running time: 2 hours, includes an intermission)
Photos by Megan Gallagher
artists
cast
John Mossman (Jacob), Lia Mortensen (Rachel), Renee Matthews (Becky), Johnny Rabe (Josh), Rod Armentrout (Mike), Bryan Kelly (Eli), Chuck Spencer (Rabbi Rick), Timothy Gregory (Repairman), Steve Peebles (u/s Jacob), Maggie Scrantom (u/s Rachel), Nate Becker (u/s Josh), Ariel Brenner (u/s Becky), Mark Lancaster (u/s Eli), Andy Clifton (u/s Rabbi Rick)
behind the scenes
Timothy Gregory (playwright, co-director, set design), Lia Mortensen (co-director), Carl Ulaszek (set design), Chazz Malott (lighting design), Paula Kenar (costume design), Mary O’Dowd (set dresser, prop design), Ray Rehberg (sound design), Gary Fry (composer), Laurie McNeilly (fight choreography), Jacob Puralewski (technical director), Aubrey Helene (assistant director), Samantha Hogan (stage manager), Megan Gallagher (production manager, asst. stage manager, photos)
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