Cataclysm in a Cottage By the Sea

The Children – Steppenwolf Theatre

Set in a run-down cottage by the sea, somewhere on the eastern coast of England, over and above the soothing sound of waves and seagulls there’s a strong sense of foreboding. The end of the world has begun, thanks to mankind’s selfishness and refusal to face facts. Lucy Kirkwood’s one-act drama, which is laced with dark humor and even an unexpected dance number, deals with the effects of cataclysmic climate change, cancer, nuclear science, morality and self-sacrifice in the face of inescapable doom. In America, the current, bloodsucking Administration is more interested in squeezing profits out of an already wounded planet, rather than trying to control the environmental bleeding, before it’s too late. There’s no concern, as Ms. Kirkwood points out, that we’re leaving a home for our children that portends certain apocalypse.

The effects of the meltdown of a coastal nuclear plant has resulted, as we soon learn, in radiation poisoning, earthquakes, tsunamis, strict rationing of water, food and electricity and a depressing feeling of helplessness. A large portion of the land has fallen into the sea. As the lights come up, we see a middle aged woman named Rose standing alone in the room. She continues asking about the children of someone, who is apparently still offstage. Suddenly we notice that there’s blood running down her nose and chin, and it’s already stained her blouse. Hazel quickly appears on the stairs with a towel, apologizing for being so alarmed at her friend’s sudden arrival and directing Rose to apply pressure and hold her head down.

Rose has paid a surprise visit to Hazel and her husband Robin, both longtime friends and former coworkers at the nearby destroyed atomic plant. All three are in their mid-sixties and used to be employed as nuclear engineers. Hazel finds it mysterious that Rose has suddenly paid this unexpected visit, after nearly forty nears of absence. There’s an uncomfortable tension in the room. Something unspoken hovers above their conversation, as the two women reminisce, gossip and sip tea. Eventually Robin turns up. He’s been off working at their old farm that’s located within the quarantined district. After a few glasses of wine, Hazel and Robin learn the real reason for Rose’s unexpected visit. She wants to bring back the old crew, those who’ve already been exposed to the radiation, in order to finish shutting down the nuclear plant. In doing so, it would allow the younger workers to leave and, hopefully, enjoy a longer life.

Directed with an atmosphere of growing doom and mystery, Jonathan Berry seems to effortlessly steer his trio of talented actors to create three authentic characters. In many ways, these are folks we probably recognize from our own lives. They’re real, honest and vulnerable. In between their everyday talk, Mr. Berry wisely emphasizes Kirkwood’s gallows humor, inspiring some lighthearted, much-welcome comic moments. They serve to lighten all the doom and gloom that inspires this play. At one point, Rose puts on a recording of James Brown’s “Ain’t It Funky Now,” and the years suddenly fall away as the three friends joyfully recreate a dance that Hazel once choreographed.

The cast is impeccable. These three actors represent Chicago’s finest. Gifted TimeLine company member, Janet Ulrich Brooks, leads this cast as Hazel. Chatty, somewhat suspicious, yet seemingly unflinching when faced with the inevitable handwriting on the wall, Ms. Brooks is the glue that holds this story together. She is, as always, miraculous and controls Hazel’s temperament with gritted teeth and a forced smile. Any production that features this Jeff-nominated actress, like her past performances in “The Audience,” “A Walk in the Woods” and “Plantation,” is a must-see. 

Ora Jones, the inimitable Steppenwolf ensemble member, is Rose. He talent has been enjoyed on almost every Chicago stage, including this theatre’s productions of “The Roommate,” “The Doppelganger” and “The Crucible.” Her knowing looks, carefully chosen words and guarded behavior mask what’s really on this character’s mind. Still, certain questions linger: does she really consider Hazel her friend? Is there something romantic motivating Rose’s visit to Robin? Can she convince both scientists to sacrifice the rest of their lives for the good of others? Ms. Jones brings a great deal of comedy to her portrayal, yet it’s her hidden passion that rises above all else.

Yasen Peyankov, who was last seen in Steppenwolf’s terrific “A Doll’s House, Part 2,” is delightful as Robin. With his carefully chosen cadence, his meticulously-paced, monotoned dialogue and his roguish, devil-may-care attitude, Robin seems almost childlike. But beneath this playful facade there lurks a man who’s painfully aware of his own mortality, as well as the penalty he must pay for the sins of his past. He allows ultra-organized Hazel to control every moment of his life, but Robin’s deep love for his wife has prompted him to keep certain shattering pieces of information a secret. He lives to protect Hazel from the certain trajectory of living in this brave new world.

Chelsea M. Warren has designed a beautifully detailed set that looks slightly shabby, but is, like this cast, very realistic. It looks like a quaint cottage by the sea where anyone would enjoy living. But on closer examination, things are just slightly askew. When Hazel places an apple on the table, it starts to roll off. Later in the play, the water levels rise so much that the toilet overflows and floods the living room. Paired with Andre Pluess’ and Lee Fiskness’ ominous sound and lighting design, this production perfectly hits all the right notes.

Seasoned with enough black humor to lighten an omnipresent sense of doom and disaster, Lucy Kirkwood’s shattering drama is as timely and important as today’s headlines. It will force theatergoers to confront our current Administration’s apathy or  ignorance or their goal to destroy this planet for the almighty dollar. Kirkwood’s drama is set in the not-too-distant future, but it feels like tomorrow. Her characters, as brilliantly portrayed by this stellar cast, are as real as your next-door neighbors, making this drama even more horrifying and thought-provoking. Do not miss this production…before the big wave hits.

Highly Recommended

Reviewed by Colin Douglas 

Presented April 18-June 9 by Steppenwolf Theatre, 1650 N. Halsted St., Chicago.

Tickets are available in person at the Steppenwolf box office, by calling them at  312-335-1650 or by going to www.steppenwolf.org.

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