Vampires Around Us

St. Nicholas – Goodman Theatre

He begins his 90-minute monologue by confessing to the audience, “When I was a boy, I was afraid of the dark.” Interestingly, this unnamed character, a drama critic, makes his living by sitting alone in darkened theatres, observing actors who are bringing to life the characters a playwright has created on the page. Has this writer, who admits to being a cruel commentator on productions about which he has little knowledge, overcome his fear of the dark? Or has he simply learned to endure that which scares him the most and join their ranks?

In this fascinating solo work by prolific Irish playwright Conor McPherson, acclaimed Scottish actor Brendan Coyle, respected for his work on the British stage, spins a story that’s both conversational and captivating. Coyle will be best known to most American theatergoers as Mr. Bates, the kind, genteel butler from BBC-TV’s “Downton Abbey.” Here, the scruffy-bearded Mr. Coyle plays a middle-aged theatre critic with an affinity for whiskey and a reputation for savage, merciless theatrical criticism.

As the critic carefully spins his story about a life spent sitting in dark theatres, watching mediocre plays performed by semi-talented actors, he recalls becoming mesmerized by a certain young actress performing the title role in “Salome.” Although she’s not especially gifted, the critic finds himself captivated by her poetic movement and obsessed with the young woman’s portrayal of the vindictive character who demands the execution of John the Baptist. After another drinking binge, the writer drives to London, where he chances to run into a sinister form lurking in the shadows. His name is William and he explains that he’s a vampire. Before the inebriated critic has a chance to register his skepticism, William offers him a position. In return for a book-lined office in the attic, and all the money and food he could ever need, the critic must simply agree to provide the vampires a service. He will lure groups of young, life-giving people from the city bars to the house in country. There they’ll party, enjoying themselves, while William and his vampire entourage quietly feed off them. 

In a clever way, the playwright uses the vampire story as a metaphor. William mirrors the critic and his life spent in darkened theatres, cynically criticizing every production and sucking the life out of earnest actors and artists, about whom he has little knowledge. Conor McPherson seems to view the critic as a predator who makes his living feeding off the talent of others. This particular unnamed critic is a disgusted, self-loathing journalist who accidentally stumbled into his career. He is a writer who’s lost whatever spark might’ve been present at one time in his work, and who describes himself, not as dying, but already dead.

This two-act play is directed by the Donmar Warehouse’s talented Simon Evans. He guides his gifted actor through the story in a relaxed, almost conversational manner, allowing him to move casually about the sparse setting that’s been designed by Peter McKintosh. Brendan Coyle holds the audience in the palm of his hand. He uses the silences, as well as his velvety, mellifluous voice, to tell his tale. As Coyle studies the room, he seems to be viewing the space all over again through fresh eyes, surveying the darkness out of newspaper-covered windows and perching occasionally in the chairs that are scattered about. He drinks from a glass that he frequently dips into a bucket of water. The atmosphere is made more tense by lighting designer Matt Daw, who illuminates the stage with shadowy, weak wisps of glimmer and, later on, the aura of dozens of candles. The production is also awash with a subtle, almost silent sound design, created by Christopher Shutt.

This production may not be for everyone. It will certainly appeal to fans of “Downton Abbey’s” Brendan Coyle, as well as devotees of the works of Conor McPherson. But it’ll also delight the theatergoer who enjoys going on a journey with a skilled storyteller. The Irish playwright is particularly known for dramas that feature a touch of humor and a hint of the supernatural. Some of his other plays include “The Weir,” “Shining City” and “The Seafarer.” In “St. Nicholas,” McPherson presents us with an antihero who discovers that, because of his unpleasant personality and profession as a theatre critic, he’s also one of the undead.

Recommended

Reviewed by Colin Douglas                 

Presented January 9-27 by the Goodman Theatre in the Owen, 170 N. Dearborn, Chicago.

Tickets are available in person at the theatre box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org/StNicholas.

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