It’s the Final Countdown

Burning Bluebeard – The Ruffians and Porchlight Theatre

Sending in the clowns to tell this horrific, nearly forgotten incident from Chicago’s history, the Ruffians’ production is definitely not your typical Christmas entertainment. It’s a dark, expressionistic retelling of the events surrounding the fire that destroyed the Loop’s “absolutely fireproof” Iroquois Theatre. In fact, the only holiday element of the story is the December date during which  the tragedy took place. But it’s a production that’s sometimes humorous and often quite beautiful in its poetic, dramatic presentation. 

It was an unusually cold afternoon on December 30, 1903. The schools were on Christmas Break, so the oversold matinee mostly included young children and their mothers. They all crowded into the brand new downtown theatre to enjoy a colorful, splashy English pantomime entitled “Mr. Bluebeard.” No one could’ve foreseen what would happen during the second act of this burlesque. An arc light that hung above the stage shorted out, and then sparked. It ignited one of several muslin backdrops next to it. As the blaze grew out of control, an escape door was opened, sending oxygen and cold air onto the stage. It created a fireball that shot out into the audience, particularly up into the balcony, where most of the youngsters and their parents were watching the play. This would be the final countdown for more than 600 innocent victims; the theatrical performance would abruptly end with death and total destruction.

Actor and playwright Jay Torrence’s stunning, critically acclaimed drama, tells the story of the Iroquois Theatre fire using music, choreography, acrobatics and moments of broad humor. Because of the limitations placed upon theatres this year, the  streamed performance is an archive film of the 2019 production that was part of Porchlight Music Theatre’s season.

Directed by Halena Kays, the tragedy is filled alternately with broad comedy and deep pathos. Beautifully choreographed by Leah Urzendowski, with additional movement by Ariel Etana Triunfo, the production features large segments of dance and stylized movement, particularly to Europe’s 1986 hit song, “The Final Countdown.” Marking the 117th anniversary of the catastrophe, the Ruffians’ production is haunting, sometimes unexpectedly funny, and always a unique combination of artistry guaranteed to send chills down the playgoer’s spine.

Unfortunately, because this year’s performance has to be virtual, the viewer misses out on the moody preshow atmosphere that was created by the Porchlight Theatre. The entrance to the auditorium of the Ruth Page was dark, smoke-filled and strewn with clutter and debris lying everywhere. There were photographs and news articles about the fire adorning the walls of the lobby, as well. This virtual presentation brings everything onstage to the viewer.

It should be noted that this streamed offering plays best on a large screen, being a bit difficult to see, at times, on a tiny laptop computer. Jeff Kmiec’s impressive, dingy, haunted house-like scenic design is bathed in shadows, with tiny bursts of brilliance, courtesy of Maggie Fullilove-Nugent’s lighting. Mike Tutaj’s impressive sound design can sound uneven, unless (as I eventually discovered) the viewer uses headphones, which makes everything fine. The production is a piqued palette of light, music and sound that colors and drives this story.

The cast is an impressive company of clowns, all working perfectly to capture the play’s macabre tone. The actors, who emerge from body bags laying all over the stage, both create the actual onstage characters involved in this 1903 tragedy, while also serving as the narrators of the piece.

Together the six ensemble members conjure up Story Theatre ghosts while evoking sympathy for all those involved in this unspeakable horror. Pam Chermansky’s Fancy Clown bullies the other characters as the leader of the evening’s events. She dominates throughout the performance with her character’s private narration, personal opinions and leveling sarcasm. Rubber-jointed Crosby Sandoval is a graceful, androgynous Faerie Queen, whose expressive face and imploring gestures touch the audience in a subtle, empathetic performance. Leah Urzendowski plays birdlike aerialist, Nellie Reed. She will be only one of five people connected to the production to perish in the fire. Suspended high above stage, while awaiting her entrance on a high wire, Miss Reed’s earnest helplessness makes her tragic end all the more poignant.

Ryan Walters’ stirringly brings to life Chicago comedian Eddie Foy. As the local actor whose special skills were showcased in this pantomime, Foy recounts seeing the fire break out and running out onto the stage to help calm the audience during the attempted evacuation. Playwright Jay Torrence is heartbreaking as Robert Murray, an empathetic stagehand who unsuccessfully tries to lower the asbestos fire curtain and, thus, save the cast and audience. As Henry Gilfoil, the actor playing Bluebeard, Anthony Courser is a likable character. He does well with the physical demands of the role, but is less polished than his cast mates with his dialogue.

This team of magically gifted artists, under the direction and fierce showmanship of Halena Kays, combine bouffant clowning, a bit of puppetry and certain Brechtian techniques into a special, expressionistic theatrical experience. Although not quite as powerful on film as when experienced live, the small screen is sometimes able to offer the viewer facial closeups, that might’ve been missed in the theatre. This play, and especially this production, while not exactly Christmas entertainment, is a must-see experience for adult audiences. In a surreal interpretation of one of Chicago’s most shocking and sorrowful historical events, this is one production that’s impossible to forget.

Highly Recommended

Reviewed by Colin Douglas    

Presented December 4-January 3 in a virtual offering, created by The Ruffians and produced by Porchlight Music Theatre.

Tickets are available for streaming at www.PorchlightMusicTheatre.org.
Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.