A Play With a Twist

Wife of a Salesman – Writers Theatre

Talented playwright Eleanor Burgess, whose searing two-character drama, “The Niceties,” burned up the stage at Writers Theatre before the pandemic curtailed live entertainment in Chicago. The production was praised by audiences and critics alike. It dealt with a Caucasian college professor who provokes a confrontation with a likable, very intelligent African-American student, who’d written a well-thought-out paper about the part she felt that slavery played in the American Revolution. This was a riveting production that had a lot to say about a number of subjects, particularly racial inequities and closeted prejudices. 

Writers Theatre is presenting the World Premiere of Ms Burgess’ latest play, another two-hander about inequities and prejudices. It’s a unique script for several reasons. First, the play is about the limited, very specifically defined roles that men assign to women in this world, particularly in 1950, when this play is set. The issues in this play that deal with women’s equality, human rights and the freedom to live life to its fullest potential are still true today. In this play, Ms Burgess features two women from very different walks of life who, after their initial confrontation and during some long conversations, discover that they actually have more in common than they originally thought. 

This play’s also unusual because it imagines a scene that might’ve taken place in Arthur Miller’s classic drama, “Death of a Salesman.” It supposes that Linda Loman (The Wife) has discovered her husband’s ongoing affair with a younger woman, and she’s decided to put an end to it. The Wife has driven to Boston one Sunday afternoon in order to confront the younger woman (The Mistress). This fictional meeting between two characters who, in Miller’s original drama, never actually meet is a fascinating bit of creativity. But then, about halfway through the scene, a cell phone rings. It’s a jarring sound because the story is set in an era before mobile devices were invented. It’s funny to watch everyone in the audience suddenly checking their cell phones, thinking they forgot to turn them off! Then we learn that the phone belongs to one of the actresses and what we’re seeing is the final dress rehearsal of Eleanor’s play. It’s a play within a play! We meet Jim, the director (nicely played by Rom Barkhordar), coming down the theatre aisle to the stage. As we observe his chauvinistic interactions with the two actresses and his female stage crew, the audience is suddenly reminded that the issues in “Wife of a Salesman” haven’t really changed that much today.

The dress rehearsal stops for the cell phone interruption, but then takes a break for some lighting changes. During the hiatus the actresses ask Jim if Eleanor would consider putting back some of the scenes she cut from her play. The actresses tell the director that they feel those speeches are very important to the play’s message. But Jim is very patronizing, explaining that the playwright isn’t there today and that the “ladies” should just trust the play and perform it as it’s now written. In other words, you don’t have to think; just perform…kind of like the characters they are depicting in the play. The rehearsal eventually continues and the play-within-a-play comes to a startling conclusion that will surprise, possibly even shock the audience.

Two of Chicago’s finest actors star in this captivating drama. The incomparable Kate Fry, a recipient of no less than four Jeff Awards, is, as always, a masterclass in acting in this play. She portrays The Wife with an innocent vulnerability and a drive to right the wrong caused by her husband. Watch her face as she carefully listens and reacts to her sparring partner, The Mistress. Observe how she works with Jim, stepping out of her role and now becoming the contemporary actress. This magnificently talented actress lives in the moment and has certainly honed her craft over the years. Her portrayal as The Wife appears complete and effortless. She’s appeared in leading roles on every major stage in Chicago, and her accumulated theatre experience has made her the great actor she is today.

Amanda Drinkall, another Jeff Award-winner, is wonderful as The Mistress. She’s a gifted actress who, despite her youth, has an equally impressive theatrical resume. Amanda has appeared at Steppenwolf, the Goodman, Chicago Shakespeare, Northlight and Windy City Playhouse, just to name a few theaters. In Eleanor Burgess’ new play, Ms Drinkall looks like a young Norma Jean Baker (Marilyn Monroe), coiffed in a curly, blonde wig and pastel pink pajamas. At first the character comes off as simply a ditzy blonde bimbo; but as the play continues we learn a great deal more about The Mistress and discover she’s deeper than what meets the eye. This is in part due to Ms Burgess’ wonderful script, but also a tribute Amanda’s skillful portrayal, which brings so much to this role. Brava to two incredible Chicago talents who give their all to this production.

The primarily female technical artistry that supports this production is both appropriate to the play and is flawless. Raquel Adorno’s costumes for both characters appear perfect. The Mistress looks like a delectable little Valentine treat, dressed as what could easily be described as a 1940’s pinup girl poster. The Wife, on the other hand, is costumed as bland and drab as imaginable. Her almost colorless brown tweed ensemble fits the character very nicely. There’s nothing about it that makes the character stand out. Even The Mistress tells The Wife, while admonishing her for her dowdiness, that her lack of trying to impress her husband is evident in her clothing. Heather Gilbert’s “expressionistic” lighting, is spot-on for the play, and provides Molly Garrison, the light board operator, with a remote cameo moment when Jim asks her to go through the lighting cues. And Courtney O’Neill’s exquisitely detailed scenic design is a cute, little one-room flat that nicely reflects the period and the taste of The Mistress. It’s pink and girly, with a large bed and a fainting couch taking up most of the space. Above the set is a canopy that’s whimsically fringed with nylon stockings, a nod to the gifts that Willy Loman always brought to his girlfriend.

Eleanor Burgess has written another exciting play proving that she wasn’t a one-shot wonder. It’s a terrific followup to “The Niceties,” which was presented at Writers Theatre before the Covid shutdown. This time her drama is having its World Premiere in Glencoe, so Chicagoans will be the first to enjoy it. The play is both an entertaining one-act, with a clever twist, and also a drama that addresses serious issues about women’s equality and choice. Two of Chicago’s finest, most accomplished actresses star in this two-hander. The production is brilliantly guided by Jo Bonney, an artist who really knows her craft and has her own vast resume of great directorial achievements. All of these terrific talents collaborate to give audiences another polished, much-welcome production at Writers Theatre.    

Highly Recommended

Reviewed by Colin Douglas

Presented March 3-April 3 by Writers Theatre, 325 Tudor Court, Glencoe, IL.

Tickets are available in person at the theatre box office, by calling 847-242-6000 or by going to www.writerstheatre.org.

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