Memories Lost and Found

4000 Days – PrideArts

Michael lies in a hospital bed while his mother sits in a chair next to him. Carol protectively keeps an eye on her son, continually checking for a sign that he’s finally waking up from a coma. Micheal’s suffering from a blood clot on the brain, and it’s been three long weeks since he was conscious. Naturally Carol’s worried, although she appears sedate and self-assured. Michael’s loving partner, Paul, stops in, as usual, on his lunch break from work. He hopes to find Michael’s condition has improved. But the tension in the room between Carol and Paul is so thick you could cut it with a knife; and when Michael’s mother finally deigns to speak to her son’s partner, the conversation drips with venom.

This is the stressful setup that opens British playwright Peter Quilter’s thoughtful drama about memories lost and found. His play continues to evolve into a three-way tug of war for a man’s life and soul. Not to give away too much, it’s no spoiler to say that Michael suddenly wakes from his coma, but he has no memory of what caused him to end up in a hospital. Michael not only has no recollection of the accident that left him comatose, but also what’s happened in the world while he was asleep. And, to make matters worse, Michael can’t even remember the past eleven years. He recognizes his mother, of course, but has no recollection of Paul, nor any memory of their life together. 

Despite Carol’s determination to regain her son’s affection and deny Michael’s relationship with his partner, Paul makes every attempt to spark a few memories from the past that will help Michael remember the life they once enjoyed. He does this through conversation, by bringing in piles of old newspapers, sharing a box filled with photographs and playing the music that the couple once enjoyed together. Finally a chord is struck when Michael expresses his desire to paint again, which he does passionately on his drab hospital room wall. But more than regaining past memories, a brand new beginning seems to be on the horizon for Michael, Paul and even Carol.

This production is, among other things, civil. It isn’t full of shouting and loud arguments, as one might expect. To his credit, PrideArts Artistic Director Jay Espano keeps the story thoughtful and quiet. He gives his viewers time to listen carefully, process the emotions and words and formulate their own response. It’s really refreshing to experience a play that presents characters at odds with each other, but doesn’t hit the viewers over the head. There’s no ear-splitting arguments or shouts of expletives. Mr. Espano also offers gentle moments of humor while never shying away from the drama of the situation. Much credit for this exceptional production also goes to Foiles for their inventive scenic design that enables Michael to artistically express his creativity in Act II. Complemented by Brady Comenduley’s beautiful lighting and an array of colorful projections by Hannah Morris, the entire effect is clever and beautiful.

The cast is near perfect. Chicago theatre veterans Beatriz Jamaica, as Carol, and Marc Prince, as Michael, comfortably wear their respective roles like a pair of warm flannel pajamas. Often complacent, when prompted Ms Jamaica becomes the snarky Tiger Mother as she tries to protect her son from unpleasantness. Sometimes Carol even has a few words of wisdom that she imparts to whoever is listening. Mr. Prince, always a pleasure in any production he’s in, brings multiple layers of growth and recovery to his portrayal of Michael. His character’s continual evolution throughout the play is an understated masterclass in fine acting. 

Making his Chicago debut at PrideArts is handsome, talented newcomer Michael Penick. This actor is quite wonderful, and we look forward to enjoying him in other roles in the near future. His poise, controlled composure and quiet desperation never give way to histrionics. Mr Penick plays Paul as smart, mellow and merciful, a man forever reevaluating his life and his relationship with his partner. Gradually Paul accepts the truth in some of the criticism that Carol heaps upon him, and he makes the changes necessary for a relationship to bloom again.

Another unique touch of creativity from Director Jay Espano involves casting the three nurses who tend to Michael, instead of just one. Strangely, while we never see a doctor at this hospital, Joselle Reyes, Jenna-Rose Drea and Charlee Amacher add so much to this production as angels of mercy. Instead of relying on snippets of recorded songs to connect the scenes, Mr Espano has inserted a trio chorus of songbird nurses to entertain us live. They also double as Michael’s choreographed alter egos during his more artistic moments.

While not exactly a new story, Peter Quilter’s play is thought-provoking and, ironically, very memorable. There are several plays, films and books about amnesiacs who must work through the mental and physical murkiness in order to resume a life with clarity and understanding. But Quilter’s play, particularly as told through Jay Espano’s excellent, sensitive production, gives the trope a new twist. PrideArts has a winner with this second offering in a season that’s about “The Search for Identity Among Queer Communities.” Bravo!

Highly Recommended

Reviewed by Colin Douglas

Presented October 7-31 by PrideArts, 4139 N Broadway, Chicago.

Tickets are available by calling 773.857.0222 or by going to www.pridearts.org.

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