Life in a Fishbowl

Zurich – Steep Theatre

 

Five short stories play out in a sleek, sterile-looking hotel room on the 40th floor of a Swiss hotel. Like most contemporary modern lodging, the apartments are so interchangeable, all looking exactly alike that, as one character observes, a traveler can’t tell his room from any of the others. The visitors who inhabit these five rooms are equally similar. They’re all staying in Zurich for similar reasons and, particularly the males, are guided by a lust for power. This concept has been particularly illuminated by the “Me Too” movement. This playwright’s belief, it seems, is that self-entitlement, especially among men, has totally corrupted all of us.

Award-winning Australian/American writer Amelia Roper’s play is a series of primarily two-handed playlets. Each of the five stories are different from each other and can stand alone; but the episodes are also interrelated. It’s not always clear, in Director Brad DeFabo’s curious production, where and when theme and situations intertwine. In Neil Simon’s brilliant comedies, particularly “Plaza Suite” and “California Suite,” he accomplished this connectivity more smoothly, but with a late 20th century sensibility. Roper’s play is a slick, shrewd, pessimistic, 21st century view of people and their imperfections, but the play’s dark humor isn’t nearly as available, at least in this production.

Jeffrey D. Kmiec’s glossy, antiseptic scenic design creates, as in the original New York production, a room separated from the audience by floor-to-ceiling glass windows. It’s as if we’re viewing life in a fishbowl, an excellent conceit for this play. And, as each scene concludes with an audible “boom,” along with a variety of original music, courtesy of Thomas Dixon’s impeccable Sound Design, Becca Jeffords’ standout lighting scheme reflects the entire audience upon the glass during the scene breaks. The problem comes in hearing and understanding a few of the actors who are performing behind this crystal barrier.

None of the characters in this collection of stories are completely innocent. It’s as if Ms. Roper is pointing a finger at every one of us saying that, especially men, with their need to dominate and control others, we’re guilty of abusing whatever power we possess. All the characters come across as stereotypes, rather than actual flesh-and-blood people. The cast includes Elizabeth Wigley, particularly effective and witty as the service-with-a-smile hotel Maid. Jeff Kurysz affectionately playing an enthusiastic, young businessman, appears at the top of the show, almost totally naked while jumping around on the bed singing the National Anthem. He could be the poster boy for the obnoxious frat boy with his bullying attitude toward women. Sasha Smith plays the young man’s one-night-stand with intelligence, an air of mystery and a sensitivity to the possible violence that lurks.

 Debo Balogun is sharp and composed, bringing as much humanity to the character of Guy, as the script allows. He plays a depressed African American businessman who requests the Maid to provide some special room service. Maya Lou Hlava and Cole Keriazakos play a pair of typical young siblings left alone in their hotel room, while their parents are out. After going through their parents’ suitcases the two kids discover some surprising, unexpected items. Cindy Marker is a frustrated German woman trying to settle some banking problems over the phone while Fryda, her little girl, is trying to find something to do to pass the time. This role is alternately played by Julia Dale and Paula Hlava. And in the final scene, Valerie Gorman portrays a sassy, elderly woman who has escaped from her senior care facility and fled to Zurich. She’s accompanied by a young male nursing attendant, played with angst and concern, by an amiable Brandon Rivera.

Amelia Roper’s play, told in five scenes, starts out strongly and with promise; but as the stories parade by, the procession becomes increasingly bland and less interesting. By the end of evening the play has only left theatergoers confused, irritated and unfulfilled. Devoid of very much humor, the episodes fail to entertain or enlighten. The ten characters feel flat and one-dimensional, causing the audience not to care much about them. It’s only in reflecting about the play afterwards that audiences might find some semblance of what Ms. Roper was trying to say.

Somewhat Recommended

Reviewed by Colin Douglas    

           

Presented October 4-November 10 by Steep Theatre, 1115 West Berwyn Ave., Chicago.

Tickets are available at the box office, by calling 773-649-3186  or by going www.steeptheatre.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.