Survival Through Storytelling

Mr. Burns: A Post Electric Play – Theatre Wit

There are definite parallels between the stifling sixteen months of pandemic lockdown that we’ve just experienced, and a horrific, nation-wide nuclear catastrophe that almost brings the world to an end. It’s not clear yet whether this Covid virus will ever be fully controlled, what with the virus continually mutating into new forms, folks spouting conspiracy theories about its origin, and refusing to get vaccinated or even masking up. Hopefully these holdouts will soon see the light. But in this respect, Anne Washburn’s dystopian comic drama truly hits home. In the fictional world she’s created, entire cities have been wiped off the face of the earth. Those few hearty souls who’ve survived the nuclear holocaust are left with very little except their spotty but fond memories of pop culture. These recollections come from television commercials, popular music, and that most enduring of all TV shows, “The Simpsons.” 

As depicted in Ms Washburn’s “Post-Electric Play,” people survive the dark, nuclear nights that follow a global power outage by traveling together in small groups and hoarding items like beer and duct tape. They gather around campfires to escape their terrifying existence by collectively remembering their favorite episodes about Homer, Bart and the other characters from Matt Groening’s animated phenomenon. Together they reconstruct each classic episode, retelling the stories with accuracy and enthusiasm. 

Much as prehistoric man may have entertained his cave-mates around the campfire with stories of the hunt, this band of futuristic survivors find comfort and camaraderie in their memories of, and fondness for, the prime-time cartoon classic. They particularly focus on an episode from the show’s second season that featured a satire of the film “Cape Fear.” In addition to searching for missing loved ones and trying to locate batteries and candy bars, this need to connect and entertain seems to rank highest among all other needs.

Washburn’s play with music had its genesis with the Civilians theatre company. It evolved into a surrealistic, three-act drama that takes audiences further and further into the future. The play eventually opened at New York’s Playwright’s Horizons in 2013. The work is a celebration of the power of storytelling and live theatre, although a familiarity with “The Simpsons” is quite important to fully appreciate the allusions and humor. There are, however, countless other references to pop culture that permeate this play, especially within the musical numbers (“The Muppet Show,” “The Mikado,” “Single Ladies”), so unless audiences have been living in a cave they’ll recognize many of the other media-inspired resources.

In Theatre Wit’s current revival of their popular 2016 production, four of the original cast triumphantly return. All eight actors are extremely talented and versatile triple threats, once again led by director Jeremy Wechsler. This manic, primal production is staged upon returning Scenic Designer Joe Schermoly’s false proscenium setting, adorned with portraits of the Simpson characters, in bas relief. The demands of this play-within-a-play are met with astounding creativity and wit. The talented team of Eugene Dizon and Brigitte Ditmars create the accompaniment and fancy footwork for the musical numbers, while David Woolley, Jon Beal and Kai Young choreograph the intricate fight scenes with skill and care. Brilliantly creative costumers Mara Blumenfeld and Mieka VanderPloeg, with assistance from Maddy Low, return to create racks of ingenious, colorful costumes and accessories that replicate the Simpson look.

Understandably the wardrobe is made to look like makeshift materials that were creatively used, evolving in Act III with even more polish and panache. The third act is, indeed, far out and fanciful and a delight for both the eye and ear.
The entire cast is excellent. Leslie Ann Sheppard stands out in several roles, particularly as Bart Simpson in the third act melodrama set aboard a barge. Andrew Jessop transforms from a quiet, but enthusiastic storyteller into a maniacal, villainous Mr. Burns. Jonah D. Winston is a likable survivor named Gibson who eventually morphs smoothly into Sideshow Bob and Homer Simpson. Anna Silva is top-notch as both Maria and Marge Simpson. Will Wilhelm is a marvel, a multitalented actor who plays refugee Jenny and finally a gutsy, scene-stealing Mrs. Krabapel. Daniel Desmarais, as Matt, once again commands the storytelling session of the first act and later plays several other Simpsons characters with total conviction. Eileen Doan demonstrates her versatility as Itchy, and other characters, and Tina Munoz Pandya is especially commanding as Lisa Simpson.

This show is quirky, creative and always surprises the audience with the unexpected. However, it also relies a great deal on the audience’s familiarity with the humor and satire of “The Simpsons.” As a riff on how popular media has turned into today’s mythology, inspiring memories and helping us to survive pandemics and nuclear disasters, Anne Washburn’s play with music is a success. This revival that seems especially timely is a fascinating, enjoyable look into the future of theatre and survival through storytelling.

Recommended

Reviewed by Colin Douglas

Presented August 27 with an open end by Theater Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available by calling the box office at 773-975-8150 or by going to www.theaterwit.org.

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