No Strings Attached

Pinocchio – House Theatre

Although there have been many versions and incarnations of Carlo Collodi’s 1883 children’s novel, The Adventures of Pinocchio, probably the most familiar is the groundbreaking 1940 animated version by the Walt Disney Studios. Because of this full-length cartoon, everyone’s pretty familiar with the story. They know about the lonely woodcarver named Geppetto who creates a little wooden puppet who eventually becomes a real boy. Audiences remember Jiminy Cricket, the cunning Fox and Cat, the evil puppeteer Stromboli, Lampwick, Pleasure Island and Monstro the whale. And, of course, they remember the beautiful Blue Fairy and how “When You Wish Upon a Star” made everything end happily ever after.

Well, forget most of that, and be open to an entirely new take on the classic fairytale about the marionette that can move without strings. This new version of the story is a “Pinocchio” for today, although the look of the show is decidedly mid-twentieth century. Adapted for the stage by longtime House Theatre company members Joseph Steakley and Ben Lobpries, and brought to brilliant life by company member Chris Matthews, this world premiere is an interestingly crafted tale about the power of truth. 

The play is also liberally seasoned with some not-so subtle allusions to the current climate of hatred and distrust that’s permeating our country. A constant wave of lies, suspicion and sheer nastiness that has pervaded our nation since the 2016 election haunts this story. This is especially evident in the way some of the characters deal with people whom they determine  are different from them.

Geppetto is a clever craftsman who fashions dolls and toys out of wood. Usually reluctant to leave his shop, he’s discovered just returning from a trip to the forest when the play opens. He’s brought back an interesting-looking log. When the wooden stump begins making sounds, Geppetto starts chiseling away at the bark. Suddenly, a face appears that speaks to the woodcarver, as he continues creating the magical marionette. Geppetto names his puppet Pinocchio, a name that many of the townsfolk seem to have trouble remembering or pronouncing.

Especially guarded with the other villagers, Geppetto warns Pinocchio not to leave the shop, or even open the curtains, whenever the woodcarver is out. Assisted by his friend Cricket, Pinocchio spends his time devouring all of Geppetto’s books. After he’s read everything on the bookshelves, the curious little boy decides he wants to experience the exciting real world outside of the shop. He disobeys Geppetto and heads out the window. Once in the village, Pinocchio tries to join the other children at school, only to be humiliated by the teacher, Miss Penny, and savagely bullied by most of the students. One little boy named Romeo, however, refuses to join the other ruffians.

When Geppetto discovers that the enchanted puppet is missing, he goes in search of him, fearing the worst. Pinocchio’s adventures eventually lead him back to, what he thinks will be, the safety of the forest. He’s accompanied by his two friends, Cricket and Romeo. There he meets the Blue Fairy, the Guardian of the Woods, who offers the youngster some wisdom that Pinocchio hadn’t found in books.

Geppetto finally catches up with Pinocchio, just as the townsfolk appear. But Officer Doohickey, in true Trumpian style, has been swiftly promoted from a lowly constable to an all-powerful judge. He holds an impromptu trial, during which Pinocchio is proclaimed guilty of being a threat to the community because he’s different than everyone. The puppet and Geppetto are then strung up and sacrificed to a giant, hungry sea monster. The final scene of this two-hour play resolves many, if not all, of the problems. Cricket goes off to live with the Blue Fairy. Pinocchio’s nose continues to mysteriously grow, although the reason for this is never explained. The puppet doesn’t magically turn into a real, live boy, and yet the story’s conclusion is promising and pleasant for all the characters.

The standouts of this cast are Sean Garratt, an affable UK born artist, who gives voice and movement to the child-size Pinocchio. Tom Lee, of Chicago Puppet Studios, is credited with creating the commanding and lifelike puppet. Together, these two theatre artists give this play the source for its magic. Garratt is a master of vocal work, delivering some of his dialogue quieter, so as to emphasize Pinocchio’s intelligence and offbeat sense of humor. With a love of learning and a passion for musical theatre, Sean Garratt’s charismatic puppet is a character who’ll charm both older children and adults, alike.

Having been enjoyed on stages all over Chicago, and last seen in the House Theatre’s “The Great and Terrible Wizard of Oz,” Molly Brennan is superb as Geppetto. Between being cautious with the townsfolk and her trying to teach and protect her enchanted puppet boy, Geppetto has his work cut out for him everyday. Ms. Brennan truly makes her folksy character honest and realistic, and she’s excellent at portraying the trauma of being a first-time parent.

The backbone of this production is, in true House Theatre fashion, the supporting cast. Brandon Rivera is a sweetly poignant protagonist as Pinocchio’s best friend, Romeo. His character’s journey through this story could easily become its own play. Miss Penny, as played by Christine Mayland Perkins, is a multifaceted woman. Her motives seem a little bit mysterious. It’s not entirely clear if, by the end of the play, she’s changed because of what she’s learned, or that she’s just a conundrum. Karissa  Murrell Myers makes a lovely, enchanting, melodic Blue Fairy; and Kevin Stangler is very funny as Doohickey. The musical ensemble, each of whom plays many different roles, includes Carley Cornelius, Tina Munoz Pandya, Mike Mazzocca and Omer Abbas Salem.

While this isn’t the Disney version, or even Carlo Collodi’s original novel, both inspire this unusual, contemporary-feeling story about how in truth lay strength and power. There’s a lot to be enjoyed in this new adaptation, as well as much to be learned  about bullying, lying and learning to just be yourself. So what if Pinocchio doesn’t become a real boy? By the end of this tale, he understands how important it is to simply be comfortable in his own skin. And that’s a lesson we can all apply to our lives.

Highly Recommended

Reviewed by Colin Douglas              

Presented April 7-May 19 by The House Theatre of Chicago at the Chopin Theatre, 1543 W. Division, Chicago.

Tickets are available at the theatre box office, by calling 773-278-1500 or by going to www.thehousetheatre.com.

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