A Whimsical Look at Anarchy

The Man Who Was Thursday – Lifeline Theatre

On a beautiful, sunny afternoon in the London suburb of Saffron Park, a poet named Lucian Gregory is discovered delivering an impassioned reading of one of his works to the gathered public. Among the crowd is Gabriel Syme, a gentleman who attempts to debate with Gregory that revolt is not the true meaning of poetry. Syme insists that, as opposed to revolution, the law is the real essence. Gabriel ends up accompanying Lucian to his underground anarchist meeting where Gregory hopes to be elected to their governing body.

There are seven members on the stealthy Central Council of Anarchists, each bearing the alias of one of the days of the week. However, the Agent, formerly called Thursday, was recently killed in a bombing, so his replacement is about to be named. Prior to the meeting, Gabriel Syme confides to Gregory that he is, in fact, an undercover detective, assigned to Scotland Yard’s secret anti-anarchist police corps. Lucian gives his word not to expose Syme’s cover, but then a surprising occurrence takes place. Following his stirring speech to the Anarchist Society, Syme is unanimously elected to become the group’s new man called Thursday. Gregory is aghast, and rushes from the room, determined to prove his merit as a true anarchist. But the plot thickens and characters soon reveal themselves to be someone other than who they once appeared.

Jess Hutchinson, making her Lifeline Theatre directorial debut, has done a magnificent job of bringing this new dramatic adaptation to life. She’s shrewdly staged the play and guided her cast and creative team through this whimsical look at anarchy. Ms. Hutchinson’s production brims with cleverness, confidence and imagination. There’s so much to recommend in this delightful production. 

First, and foremost, is Bilal Dardai’s faithful stage adaptation of the original novel, written in 1908 by G.K. Chesterton. His script  overflows with mysterious undercover operations balanced with the kind of British humor found in classic comic films, such as “Our Man in Havana” and “Johnny English.” There’s also more than a nod to Monty Python and Mr. Bean, as well.

Next is the spot-on technical support supplied by Ms. Hutchinson’s creative staff. Lizzie Bracken, with her stunning, multipurpose scenic design, has managed to define a variety of English and French locales in one intimate space. She’s employed a series of interchangeable arches and doorways, crouching beneath a giant balcony, flanked by two accessible staircases and dominated by a large diagonal beam. Eric Watkins’ moody light design is as droll and unpredictable as Dardai’s script. Enhanced by original music and a powerful sound design, by Christopher Kriz, as well as a wardrobe of cool, colorful period costumes and accessories, co-designed by Caitlin McLeod and Anna Wooden, this is a truly special production that looks and sounds as polished as any show in Chicago. Add to this roster of fine artists, the topnotch dialect coaching provided by ensemble member Elise Kauzlaric, the breathtaking fight choreography created by Greg Poljacik  and an array of appropriate period properties, by Jenny Pinson, and you have a stunning play that must be seen.

But of course, without a brilliant cast of actors, this play would  be simply a museum installation. Fortunately for Lifeline Theatre, Jess Hutchinson’s company of thespians is top drawer. Handsome Eduardo Xavier Curley-Carrillo is charismatic and commanding as Gabriel Syme. Allison Cain’s god-like Sunday is commanding and awesome. Jen Ellison’s incredible characterization of Dr. Bull/Saturday, is one of the finest performances to grace this stage. Steampunk-inspired, with a quirky vocal quality that provokes both terror and laughter, Ms. Jenson’s performance is magical and flawless. She’s matched by Corrbette Pasko’s incredible portrayal of the Marquis de St. Eustache/Wednesday. With her pointed nose and suave facial hair, an impeccable accent and some savvy fencing moves, Lifeline can boast another dynamic star. Add to this cast the talents of Linsey Falls, as Professor de Worms/Friday; Marsha Harman, as the Council’s Secretary/Monday; Christopher M. Walsh, as Gogol/Tuesday; Cory Hardin, as Lucian Gregory; and Sonia Goldberg and Oly Oxinfry playing a wide range of genders and roles.

Lifeline Theatre has a bonafide hit playing in Rogers Park. Wickedly written by Bilal Dardai, which he faithfully adapted from G.K. Chesterton’s Edwardian metaphysical thriller, and directed with eye-popping creativity and inspired intellect by Jess Hutchinson, this production is a delectable diversion for our times. Despite its turn-of-the-century setting, it’s a story that seems to reflect our present-day political scene. Theatergoers looking for sheer stimulating entertainment will not find a finer production playing in Chicago.

Highly Recommended

Reviewed by Colin Douglas                 

Presented February 15-April 7 by Lifeline Theatre, 6912 N. Glenwood Ave., Chicago.

Tickets are available at the box office, by calling 773-761-4477 or by going to www.lifelinetheatre.com.

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