How Can Humans Do Better?

Cat’s Cradle

There aren’t enough expletives of praise in the English language to express the magnificence of this incredible, two-hour production of Kurt Vonnegut’s 1963 classic. The famed American writer, known for a large canon of stories (Welcome to the Monkey House), plays (Happy Birthday, Wanda June) and wryly satirical novels (including Slaughterhouse-Five and Breakfast of Champions), wove elements of science fiction and fantasy into his stories to highlight the horrors and ironies of living in the 20th century. All of his books, like Cat’s Cradle, are marked by a a fatalistic viewpoint while still embracing humanistic beliefs. In this play Vonnegut seems to be continually asking, “How can humans do better?”

The plot of Cat’s Cradle defies a concise, coherent description. Vonnegut originally had submitted the manuscript as his Masters Thesis at the University of Chicago. Suffice it to say that this brilliant theatrical adaptation by John Hildreth is a breathtaking and astounding achievement, whether or not the theatergoer has ever read the novel. Lifeline Theatre, an artistic home that’s famous for presenting “innovative adaptations of great works of fiction,” is presenting this revival of their much acclaimed production from 2001. This is a smart move since many younger theatergoers weren’t even around 22 years ago. There are also a lot of patrons who may have missed that earlier production or simply want to revisit the Vonnegut novel.

The story is told by a Narrator, a kind of Everyman who introduces himself as Jonah… or John…he’s not sure. Like Vonnegut, he’s a writer. He tells his story as a series of connected memories or flashbacks. He’s preparing to write a book called The Day the World Ended, centering around what everyday people were doing the day when Hiroshima was bombed. The story also keeps referencing a strange, anti-Christian religion called Bokonon. 

The play first takes the audience to Ilium, New York, where the Narrator is researching the life of a famous atomic scientist, the late Felix Hoenikker. He meets the people who knew the

 co-creator of the atomic bomb best: the man’s children, Franklin, Angela and Newt; his assistant, Dr. Breed; and the curator of the Hoenikker Museum, Mrs. Pefko. Newt, Felix’s dwarf son, explains to the Narrator that Dr. Hoenikker was simply playing the children’s string game, cat’s cradle, when the bomb was dropped at Hiroshima.

In Act II, the story moves to San Lorenzo, a Caribbean island where the religion of Bokonon is secretly practiced by everyone, although it’s been deemed unlawful. The Narrator finds himself drawn into the Bokonon religion, falls in love with Mona, the adopted daughter of the island’s dictator, and learns the horror of a substance discovered by Felix Hoenikker that could eventually destroy all life on earth.

If this sounds confusing, know that these plot details (and many, many others) unbelievably play out smoothly in a coherent. hilarious and fast-moving production. This tale, a circus of curious colorful characters and locales, is exquisitely directed by Lifeline ensemble member, Heather Currie. With a gifted, talented and very versatile company of only nine, the production somehow seems to boast of cast of thousands. With astoundingly fast costume and wig changes, all the actors, except for Tony Bozzuto who is simply magnificent as the verbose Narrator/Jonah/John, play multiple roles. This continually revolving carousel of characters and chaos practically leaves the audience breathless, both from laughter and empathy.

The hard-working ensemble of actors includes Patrick Blashill (Felix Hoenikker, Mr. Crosby, et al); Shea Lee (Newt); Vic Kuligoski (Franklin Hoenikker, Jack, et al); Jocelyn Maher (Angela Hoenikker Conners, Mr. Minton, et al);  Anthony Kayer (Dr. Asa Breed, Marvin Breed, et al); Mandy Walsh (Mrs. Crosby, Sandra, et al); Shelby Lynn Bias (Mona, Mrs. Minton, et al); and Johnard Washington (Bokonon, dictator Papa Monzano, et al). Each one of these accomplished actors is a star.

The production owes a lot to its marvelous creative technical staff. They include, among many others, costume designer Aly Amidei for a wardrobe that is colorful, creative and can change in seconds; an artistically appealing and appropriately versatile scenic design by Lindsay Mummert; Saskia Bakker, whose props are perfectly suited to this play; Sarah Riffle and Stefanie Senior, whose lighting and sound design, respectively, captures all the nuances of Vonnegut’s story; and a special nod to stage manager Hanna Smaglish who has the challenge of keeping all the balls in the air, allowing this production to proceed like clockwork.

Whether or not theatergoers have read Kurt Vonnegut’s novel they will absolutely enjoy and marvel at this production. The wide array of talent and sheer finesse found in this glorious stage version of “Cat’s Cradle” is apparent, right from the first moment. Director Heather Currie should be very proud of her artistic accomplishment. She’s revived John Hildreth’s superb, articulate and coherent adaptation of this delightfully bizarre novel and brought the story to a new generation of theatergoers. Bravo to Lifeline Theatre!         

Highly Recommended

Reviewed by Colin Douglas

Presented September 1-October 22 by by Lifeline Theatre, 6912 N. Glenwood Ave., Chicago.

Tickets are available in person at the box office, by calling them at 773-761-4477 or by going to www.lifelinetheatre.com.

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