Send in the Clowns

Burning Bluebeard – The Ruffians

Audiences flocking to the theatre these days seldom give any thought to their own personal safety. Even back at the turn of the century, only 30 years after the Great Chicago Fire, there was little cause for alarm…that is until Chicago’s Iroquois Theatre, billed as “absolutely fireproof,” caught fire during an oversold matinee, on December 30, 1903. Who could’ve imagined that a holiday pantomime entitled “Mr. Bluebeard” would result in one of the most tragic losses of life in American history.

It’s estimated that over 600 innocent people, most of them children and their mothers, died as a result of the unstoppable blaze when an arc light shorted and the sparked, igniting one of the muslin backdrops. An additional 250 members of the audience and the production were severely injured, as well. This tragedy gave rise to more stringent fire safety rules, particularly for buildings in which large crowds gathered. Exits are now clearly marked, a panic bar is located on emergency escapes, doors now open out in the direction of departure and an asbestos fire curtain, fireproof scenery and construction materials are now a part of high-occupancy spaces. 

The Ruffians send in the clowns to tell this story, employing burlesque and English pantomime style to tell this horrific story of the Chicago tragedy. In this year’s excellent remount of Jay Torrence’s critically acclaimed 2011 comic drama, once again directed by Halena Kays, the dark tragedy plays out with comic overtones. With stylized movement, nicely choreographed by Ariel Triunfo, this production, now in its 8th year, marks the 116th anniversary of the catastrophe. Featuring many of the original, talented cast members, the company includes Anthony Courser, as Henry Gilfoil; Leah Urzendowski, as Nellie Reed; Ryan Walters, as Eddie Foy; Crosby Sandoval, as the Faerie Queen; playwright, Jay Torrence, as Robert Murray; and the excellent Pamela Chermansky, as the Fancy Clown and the show’s interlocutor. The production is always haunting, at times unexpectedly funny, and yet sends chills down the playgoer’s spine. It’s this company’s unique combination of artistry that makes this production so exciting.

When the audience enters the darkened, smoke-filled space, representing an abbreviated version of the Iroquois Theatre stage following the fire, there’s clutter and debris lying everywhere. As the play begins, out of a collection of body bags emerge the garishly made-up actors. It’s a frightening sight and sets the appropriate tone for the 100-minute story that unfolds. While waiting to enter the auditorium, theatergoers can peruse a number of visuals depicting The Legend of Bluebeard, and provid audiences with background information about the Iroquois Theatre.

Technically, this production owes a great deal to the creativity and craftsmanship of Chicago’s behind-the-scenes geniuses. Jeff Kmiec has created a dingy scenic design that’s the theatrical equivalent of a haunted house, while Bill Morey’s new costumes for the production are eerie and inventive. Both pay homage to Lizzie Bracken’s original set and costumes. Maggie Fullilove-Nugent paints the stage with shadows and moody, ghost-like illumination. Mike Tutaj, known for his incredible projection designs, creates a masterful, frightening soundtrack. It’s a moody palette of light, music and sound that colors and drives this story.

The company works together perfectly capturing the play’s macabre tone, as they both narrate and recreate the theatrical tragedy. Conjuring the ghosts and reliving the incidents of that day creates an immediacy and evokes untold empathy from the audience for all those involved in this unspeakable horror. Pam Chermansky’s Fancy Clown bullies the other characters as the leader of the proceedings. She’s a dominant presence and forces her way through the performance with her private narration, personal opinions and an sarcastic air. Elastic-jointed Crosby Sandoval is a gracefully-mimed, androgynous Faerie Queen. With expressive face and imploring gesticulation, Sandoval touches the audience with this subtle, caring performance. Leah Urzendowski plays birdlike aerialist Nellie Reed, one of only five actors to actually die in the fire, suspended high above the stage while awaiting her entrance on a high wire. The earnest helplessness behind her performance makes her tragic demise all the more poignant. 

Ryan Walters‘ stirring performance brings life to Chicagoan comedian, Eddie Foy. As the actor whose special skills were showcased as Sister Anne in “Mr. Bluebeard,” Foy recounts noticing the fire, running onto the stage that afternoon and seeing more women and children in attendance than ever before. He first made certain that his own young son was safe in the care of a stagehand; then he attempted to calm the crowd, even as large chunks of the ceiling were falling around them. Foy’s credited with saving many innocent lives that day and Mr. Walters offers the right amount of undaunted fearlessness in the role. Jay Torrence is heartbreaking as Robert Murray, a caring, sympathetic stagehand during that fateful performance. His attempt to lower the fire curtain was unsuccessful and the fatherly care he provides his cast and the audience during that terrible tragedy is inspiring. As Henry Gilfoil, the actor who played Bluebeard, Anthony Courser does quite well with the physical demands of his role, but is less accomplished verbally. His line delivery and enunciation isn’t as polished as his cast mates, although he creates a most likable character.

The Ruffians‘ quirky combination of process and showmanship is partially inspired by Australia’s Theatre in Decay. It includes bouffant clowning, a bit of puppetry and various Brechtian techniques. The company also borrows its style from Jerzy Grotowski’s “poor theatre,” which values the actor’s body and its relationship with the spectator. The result is a unique experience that has come to be associated with Chicago. 

Every component works in sync for this production, directed with fierce showmanship by Halana Kays, and supported by a team of magically gifted theatrical artists. The actors in this year’s remount are terrific and together create a must-see production, a surreal interpretation of one of Illinois’ most tragic historical events, that’s impossible to forget.

Highly Recommended

Reviewed by Colin DouglasPresented December 13-27 by the Ruffians at The Ruth Page Center for the Arts, 1016 N. Dearborn, Chicago.

Tickets are available in person at the Ruth Page box office, by calling 773-9777-9884 or by going to www.PorchlightMusicTheatre.org.

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