Review: The Edge of Our Bodies (TUTA Theatre Chicago)

A gripping one-handed coming-of-age tale

Carolyn Molloy is Bernadette, a precocious high school teen taking a train to visit her older boyfriend Michael in New York. Through her captivating one-handed performance, Molloy transforms the somewhat banal premise of The Edge of our Bodies into truly innovative theatre.

Molloy has some assistance, of course. Martin Andrew and Keith Parham devise a brilliant boxed set separated from the audience by a translucent black curtain. The stage turns opaque to visible at the speed of light, and other miniature boxes of light adorn the space and get utilized as props. The resulting shadow effects lend to an ominous atmosphere, as though Bernadette's train heads towards unavoidable misery. Sean Ewert makes a brief yet humorous appearance that further lends to the meta-theatricality of this production. His understated, mysterious character provides an intermission to the intoxicating rhythm developed throughout the play.

But more than anything else, this is Molloy's show. Her character is a liar. The sixteen-year-old discusses alcohol, drugs, sex, affairs, pregnancy, and abortion as though they were as commonplace in her life as homework, chores, and sports. She does some pretty horrible things throughout the play, often sharing them without batting an eye. Yet despite all of this, Bernadette comes across as a likeable protagonist for whom everyone in the audience pulls. The engaging Bernadette uses plentiful similes in reading her journal, first to no one in particular, then to the audience.

Indeed, through much of the performance, Molloy breaks the first rule of theatre - directing her lines not towards the audience, but rather to one of the other walls in her box. So in this production, the performer more literally breaks the fourth wall, as well as the first, second, and third on occasion. This device works surprisingly well. Even though the meta-theatrical aspect doesn't come across as completely clear, that doesn't impede the enjoyment of the show.

Jacqueline Stone directs Molloy to use her natural voice and cadence for all of the characters she portrays except one. Her harsh New York accent lands so well with that character that I wish she'd have done something similar with the others. Not that I ever lost interest or got confused with regards to which character was speaking; it's more a matter of utilizing every bit of Molloy's obvious talent.

The Edge of Our Bodies works as a coming of age story, even though Bernadette already appears experienced in the ways of the world from the beginning. Her unaffected nature means that the instances in which she does get emotional or behave like a kid really pop and sizzle. TUTA Theatre has been regaling Chicago audiences with innovative theatre for years. This production is no exception, and Carolyn Molloy's performance is nothing short of exceptional.

The Edge of Our Bodies continues through April 17th at TUTA Theatre, 4670 N. Manor (map), with performances Thursdays-Saturdays at 7:30pm, Sundays 3pm. Tickets are $25-$30, and can be reserved online through SquareUp.com (check for half-price tickets at Goldstar.com ). More information at Tutato.com. (Running time: 90 minutes, no intermission)

behind the scenes

Jacqueline Stone (director), Aileen McGroddy (movement director), Martin Andrew (set design), Keith Parham (lighting design), Branimira Ivanova (costume design), (sound design), Leticia Guillard (props design), Anthony La Penna (photos)

Tags: 16-0338, Adam Rapp, Aileen McGroddy, Anthony La Penna, Branimira Ivanova, Carolyn Molloy, Chicago Theater, Jacqueline Stone, Joe Court, Keith Glab, Keith Parham, Leticia Guillard, Martin Andrew, post, Sean Ewert, TUTA Theatre, TUTA Theatre Chicago