James Joyce’s “The Dead”
Adapted by Richard Nelson and Shaun Davey
Directed by Charles Newell
at Court Theatre, 5535 S. Ellis (map)
thru Dec 9 | tickets: $45-$65 | more info
Check for half-price tickets
An uneventful litany of mediocre Irish music
Court Theatre presents
James Joyce’s “The Dead”
Review by Keith Glab
You might not expect that a short story by James Joyce would translate well into musical theatre, but Charles Newell, the artistic director of Court Theatre, begs to differ. James Joyce’s “The Dead” was Newell’s first attempt at directing a musical ten years ago at the Court, and the following season he remounted it using a different music director, Doug Peck. Now Newell and Peck revisit this production, which Newell credits with spearheading a commitment to producing musical theater at The Court.
One of these songs somehow resonates with Greta Conroy (Susie McMonagle) to the point that her husband Gabriel (Philip Earl Johnson) notices a profound change in her. He narrates this to the audience, since Greta’s character isn’t well-established enough for the change to be evident on its own. I don’t much blame McMongale for this deficiency, as there are simply too many characters in the story for them to have much depth, particularly when most of the performance is dedicated to a sampling of Irish folk songs.
There is some mounting tension as Julia feels noticeably ill, but in true Irish fashion, the family pretends all is well. Likewise, the production shies away from all other potential points of conflict. Freddy (Rob Lindley) arrives at the gathering late and drunk, to the chagrin of his mother (Rebecca Finnegan), but Freddy soon assimilates into the party unmolested. Gabriel blurts that he is sick of Ireland, but the room full of Irish folks barely even registers this as a faux pas. There’s a point when two young girls vie for the attention of Michael (Jim DeSelm), but one of them good-naturedly gives up the chase after a minute.
The closest thing to actual conflict in the show is the downstairs neighbor banging on his ceiling due to the noise. Julia’s illness escalates, but there is no issue or decision associated with it. Greta finally reveals the secret from her past, but Gabriel has already alluded to it in his narration and there is no resolution following her revelation. Johnson’s Gabriel is far more charismatic and charming than the selfish, socially-inept character Joyce penned, which lessens any epiphany he might experience.
The production’s greatest asset lies in its staging and choreography. Despite 13 actors plus a pianist (Doug Peck) occupying the stage for most of the show, the blocking never looks awkward, arbitrary, or forced. The actors give motivations to their movements and excel at listening and reacting to each other throughout. Indeed, these reactions and interplay are often far more interesting than the songs that are supposed to capture primary focus. The cast also deserves praise for being able to act, dance, emote, sing, and play instruments concurrently and have it all look naturalistic.
But after sitting through 100 minutes of meaningless, mediocre karaoke, I have a hard time focusing on the positives. Joyce’s story lands weakly in terms of conflict/resolution and this adaptation is utterly devoid of it. We’re left with a flurry of unremarkable characters and songs that soon fade from memory. The losses that come with age and a longing for youth get established as the main theme. Along those lines, this is an evening I wish I had back.
Rating: ★½
James Joyce’s “The Dead” continues through December 9th at Court Theatre, 5535 S. Ellis (map), with performances Wednesdays and Thursdays at 7:30; Fridays at 8:00; Saturdays at 3:00 and 8:00; and Sundays at 2:30 and 7:30. Tickets are $45-$65, and are available by phone (773-753-4472) or online through UChicago.edu (check for half-price tickets at Goldstar.com). More information at JoycesTheDead.com. (Running time: 1 hour 45 minutes, no intermission)
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Photos by Michael Brosilow
artists
cast
Jim DeSelm (Michael – Guitar), Mary Ernster (Aunt Julia Morkan), Lara Filip (Molly Ivors), J. Michael Finley (Bartell D’Arcy), Rebecca Finnegan (Mrs. Malins), Suzanne Gillen (Lily – Flute), Anne Gunn (Aunt Kate Morkan), Philip Earl Johnson (Gabriel Conroy), Rachel Klippel (Rita, Young Julia), Regina Leslie (Mary Jane – Violin), Rob Lindley (Freddie Malins), Susie McMonagle (Greta Conroy), Steve Tomlitz (Mr. Brown – Cello); Allison Cook, Kelli Harrington, Benjamin Magnuson, Shaun Nathan Baer (understudies)
behind the scenes
Charles Newell (director); Doug Peck (music director); Scott Davis (set design); Linda Roethke (costumes); Jennifer Tipton (lighting); Joshua Horvath (sound design); William Collins (production stage manager); Donald Claxon (stage manager) Katie Spelman (choreographer); Drew Dir (dramaturg); Claudia Anderson (dialect coach); Michael Brosilow (photos)