Gallows Humor 

Dying For It

No mere cry for help, he’s really going to do it. Semyon Semyonovich has decided that there’s nothing left to live for and no one will miss him if he’s gone. Masha, his nagging wife, constantly carps at him and Serafima, his live-in mother-in-law, reminds him that he’s an idiot. Semyon is poor, unemployed, has no prospects of finding work and doesn’t contribute anything to either his home or society. So the depressed man wakes up early one morning and concludes that the world would be better if he’d just kill himself. Sounds really depressing, right? Well, nothing could be further from the truth. 

In 2007, British playwright and screenwriter Moira Buffini penned one of several adaptations of Nikolai Erdman’s 1928 play, “The Suicide.” The result is an hysterically funny, but darkly written gallows humor comedy. Critics consider Erdman’s original satire one of the best plays written during Russia’s Communist Era. However, Joseph Stalin didn’t find Nikolai Erdman’s play particularly sardonic or side-splitting. He not only banned any further productions but Stalin banished the talented playwright to Siberia. Ms. Buffini has improved upon the original script, cutting some of the  characters, shortening the play (although it’s still a little lengthy) and peppering it with F-bombs and other contemporary dialogue.

When Masha and Serafima can’t find Semyon, after he declares his intention to off himself, they enlist the help of upstairs neighbor, Marxist muscleman, Alexander to help find the man. He and his late night visitor, sexy bar owner Margarita, eventually locate Masha’s forlorn hubby. But Semyon’s found an old booklet under his bed proclaiming how playing the tuba is guaranteed to bring him fortune and fame. Through a series antics, the instrument is finally procured, but ultimately doesn’t bring Semyon a solution to his problems. 

The poor man declares that suicide is the only way to bring relief to his oppressive life. So Alexander tries to profit off of Semyon’s dramatic plan to kill himself, while bringing in several different members of Russian gentry who have found only repression and disillusionment following the Revolution. Each serves as a representative of his or her branch of society and knows that death holds a great deal of power. Rather than dissuading him, they all try to persuade Semyon to kill himself as a protest for their own particular cause. These individuals include the aristocratic egghead, Aristarkh; a vodka-swilling Priest, Father Yelpidy; a beautiful femme fatale, known as Kiki, who wants a martyr for pure love; Viktor, a poet who would like to see Semyon give his life for the sake of Art; and Yegor, a postman, peeping Tom and an annoying neighbor, who’s a loyal Communist and possibly a government spy, and who strongly opposes the liberal ideals of the rest of this group.

Because this dark comedy offers so many crazy characters, such a display of broad farcical physical humor and so many unexpected funny lines of dialogue, you’d expect that this is just a Neil Simon satire set in Russia. But Buffini’s play is more than that. That curious paradox of comedy and tragedy creates a sort of parable about how society tries to force an individual to bend to its will. Skillfully directed by Monica Payne, her production has more bite to it than expected. At times the pacing slags a bit, making the two+ hour play feel overly long in spots. There are several instances in Act II, for instance, when the rhythm falsely indicates the play’s climax. But I’m sure that with a couple more performances under their belt, the tempo will tighten up considerably.

The ensemble cast is very good. As Semyon, Daniel Shtivelberg is onstage for most of the play. He portrays the poor schmuck who can’t see any way out of his destitute life, other than suicide. From time to time, however, the actor could inject a little more energy to keep the audience engaged. Semyon’s shrewish wife, Masha, is nicely played by Kayla Adams. Serafima, Masha’s mother, is hilariously portrayed by Kathy Scambiatterra. This actress is comic genius, tossing off hilarious, unexpected bon mots and demonstrating hysterical expressions and reactions to the events at hand. Ms. Scambiatterra is a treasure.

The supporting cast is excellent. Todd Wojcik bulldozes his way through the show with humor, demonstrating his physical prowess as enterprising neighbor, Alexander. Kristin Collins makes a sultry Margarita, a welcome wagon of sexual delights and the proprietor of a sleazy neighborhood saloon. Brookelyn Hebert is magnificent as the captivating Kiki, a beguiling bolshevik vamp, who only lives for love. Ms. Hebert’s seduction scene with Semyon is one of the comic highlights of this production. As Viktor, the poet who’s tired of writing propaganda and wants to stretch his creative limits as an artist, Jared Goudsmit is wildly delightful. John LaFlamboy is an indefatigable member of the intelligentsia, all high culture and political influence. Patrick Thornton has his moments as Father Yelpidy, as does Reid Coker, playing a smarmy, quietly quirky Yegor. Talented Carolyn Waldee and Mary Spencer complete the cast as providing atmosphere as onstage instrumentalists and who also play undertakers Stephen and Oleg.

The technical support that enhances this production bespeaks the company’s name: Artistic Home. Kevin Hagan’s authentic-looking three-story hovel of an apartment is splendid. Detailed down to the floor, this scenic designer has magically transformed the Bookspan Theatre back into another time and place. Skillfully lighted by Mark Bracken, Jr., the intimate setting becomes a playground for hidden cubicles and shifting shadows, until the brightly lit party scene in Act II opens up this world. Rachel Lambert has costumed her production with genuine-looking clothing and accessories that shout early twentieth century Russia. Of particular note, in addition to the peasant garb of the apartment dwellers, are Kiki’s stunning b&w ensemble, Viktor’s massive swirling cape/coat and Aristarkh’s well-tailored three-piece suit. 

This is an impressive production of Moira Buffini’s adaptation of a once forbidden Russian satire. The power created by the death of a martyr can’t be underestimated, as Ms. Buffini illustrates in her gallows humor play. Monica Payne has punched up the humor of this black comedy while still allowing the poignancy of the situation to hit home, especially in its final moments. With the pace tightened, particularly in Act II, this is a show that audiences will be flocking to see for its brilliant acting, its social commentary and its unexpected dark comedy.         

Recommended

Reviewed by Colin Douglas

Presented March 18-April 23 by Artistic Home at the Den Theatre, 1331 N. Milwaukee Ave., Chicago.

Tickets are available at the box office, by calling 773-697-3830 or by going to www.thedentheatre.com.

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