An Almond Joy That’s Deliciously Nutty

Melancholy Play – Organic Theatre

Filled with so much joy and style, Organic Theater’s production of Sara Ruhl’s first major play is being given a new staging at the Greenhouse Theater Center. Under the astute direction of Laura Sturm, this play with music overflows in a wash of emotion, melodrama and whimsy. This contemporary, surreal farce originally premiered in 2002 at Evanston’s Piven Theatre, and was revived there again in 2015, but rewritten, this time, as a chamber musical. 

Ms. Sturm’s stunning new vision, while not exactly a musical, incorporates a background score of prerecorded piano music, enhanced by a live cellist, who’s positioned upstage within a suspended picture frame. This musical element adds a great deal to the play, providing emotional cues for the characters and inciting moments of interaction between the musician and the other five actors.

The plot is conversely simple and complicated in this comedy of emotions. Tilly is a pretty, young bank teller who suffers from melancholy. She’s seeing a psychiatrist named Lorenzo, who prescribes medication to alleviate her despondency. Unexpectedly, Lorenzo discovers that he’s has fallen in love his winsome patient. Frank, Tilly’s enthusiastic young tailor, along with Frances, her perky, exuberant hairdresser, both tell Tilly that they gave up their former jobs to follow their dreams, which has brought happiness. But, as in all farces, they’ve also both fallen in love with Tilly. While Frank is tailoring Tilly’s slacks he reveals his love for her; and while Tilly is having tea at her beautician’s home Frances, and her lesbian lover, Joan, both confess that they’re also passionately attracted to the melancholy bank teller. 

Tilly’s sadness continues, day after day, until her new friends decide to throw a birthday party for her. Suddenly she discovers complete and unbridled happiness. However, when Tilly reveals to everyone that her melancholy has completely vanished, and that she’s now bubbling over with newfound bliss, her circle of friends react in a variety of curiosly unexpected ways. The most profound and unexpected reaction is when Frances suddenly turns into an almond. From then on, this absurdist play becomes even more deliciously nutty.

Sarah Ruhl makes reference, in the forward to her play, some research she’d found by a Dr. Januwat. He discovered an almond-shaped organ of emotion, found within the human brain. He named it the mandorla, which comes from the Greek word for almond. Because emotions continually shape the plot of Ms. Ruhl’s comedy, and love, eventually conquers all, the almond figures prominently in the story.

Laura Sturms’ engaging and imaginative production makes the surreal become real. She’s carefully guided her cast to explore their individual freedom, in which they can embrace and cultivate the play’s melodrama. This greatly enhances the absurdist elements of the script. Ms. Sturms’ cast is excellent, with talented Alys Dickerson so exciting and captivating as Tilly. Martin Diaz-Valdes is quirky, yet so likable, as Lorenzo; and Kris Downing makes his auspicious, memorable debut into professional theatre, as Frank. Stephanie Sullivan is suitably prim and proper as Joan, the English nurse, whose love for both Tilly and Frances often confuse and conflict her. Michaela Voit demonstrates superb musical talent and confidence on the cello, as well employing an understated comic sense, as Julian. 

But the real star of this production is Rachel Soglin as Frances. This bewitching young actress absolutely dazzles and delights in a role that seems to be at the whim of her character’s many mood shifts. Turning on a dime, Ms. Soglin effortlessly slips from one temperament to the next, often within a breath. She is a mistress of honest reactions, comic timing and thoughtful interpretation. And, although Rachel’s been enjoyed in a variety of humorous TV commercials and performing stand-up around the city’s improv scene, hopefully we’ll see this gifted, effervescent young actress in more theatrical productions around the Chicago.    

Great credit goes to Terrence McClellan for his creative scenic design, which makes wise use of a challenging theatre space. A pillar stands centerstage holds up the ceiling and can’t be removed. Instead of ignoring it, however, McClellan has incorporated the supporting post as part of the set, transforming it into a colonnade that’s part of the various locales. He frames the intimate space with doors and windows, while also dotting the stage with a few movable, multipurpose set pieces.

This new production of one of Sarah Ruhl’s first plays is enchanting. Later in her career we’d enjoy other exciting plays from this Illinois native, such as “The Clean House,” “In the Next Room (or the Vibrator Play)” and “Dead Man’s Cell Phone;” but this early effort from this talented playwright is a precursor of great things to come. In Laura Sturms’ simple, stylish, creatively inventive production, the manner with which she guides her actors, contrasting melodrama with realism, is everything. This director understands how the play’s surrealism can be emphasized by such diversity and Ms. Sturms makes the most of her choices. The play breathes with the gentle winds of the season, and makes the perfect entertaining diversion for a warm, Spring evening.

Highly Recommended

Reviewed by Colin Douglas     

Presented March 20-April 14 by the Organic Theater at the Greenhouse Theater Center, 2257 N. Lincoln Ave., Chicago.

Tickets are available at the Greenhouse box office, by calling 773-404-7336 or by going to www.organictheater.org.

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