The Water is Rising

Flood

If theatergoers are watching a play where human existence seems meaningless and communication has totally broken down, the audience is likely visiting the world of Theatre of the Absurd. Critic Martin Esslin coined that term in a 1965 essay that primarily focused on the works of Samuel Beckett and Eugene Ionesco. In it, he went on to say that in a production of an Absurdist drama, reality as we know it has left the building. The play aims to shock the viewer out of his complacency as it attacks such ideals as family, religion and politics. But instead of despair, Absurdist dramas, like “The Bald Soprano” (Ionesco), “Waiting for Godot” (Beckett) and “The American Dream” (Edward Albee), evoke laughter and offer a sense of freedom.

Playwright Mashuq Mushtaq Deen has revived the Absurdist Theatre in “Flood,” his new play, which is enjoying its Chicago premiere. Exquisitely guided by guest director Kenneth Prestininzi, who originally brought Deen’s play to life at Kansas City Rep, this production is spot-on. The only thing is that audiences might want to know a little of what they’re in for upon attending it, although the element of surprise or shock is part of the experience.

As the 90-minute play begins the audience is watching a middle-aged man named Darren (as in “Bewitched) patiently working on his “masterpiece.” We can’t see what he’s making, but Darren’s very focused on assembling tiny slivers of wood together with glue. His doting wife, Edith (as in Bunker, like in “All in the Family”), enters and stands quietly watching her husband at work. No one speaks, so Edith leaves the stage. A few minutes later she returns and stares at Darren once more. He’s promised Edith that, upon completing his project, they can sit together and enjoy a cup of tea. Edith keeps asking over and over if he’s finished yet, and this upsets Darren. But he keeps on working.

Edith, perfectly coiffed and dressed like June Cleaver, poses prettily on the couch for a while. Then she moves to the living room chair. Then she returns to look out the windows from their 19th floor apartment. Edith comments over and over about the pleasant view they have of the blue ocean below. However, she notices, the ocean’s getting bigger. The water is rising, and this provides the title and primary conflict of Deen’s drama.

Because this is Theatre of the Absurd, the main characters refuse to acknowledge the problem, a catastrophe most likely caused by climate change. Edith only talks about Darren’s masterpiece, about having tea, reminisces about how the couple met and about their two grownup children, Edith Junior and Darren Junior. She bemoans the fact that the kids never come to visit, let alone call. Darren suggests that maybe she should call them, which Edith does, strangely using a tin can and string as a telephone. While Edith and Darren seem to be living in the 1950’s or 60’s, their children, when we finally see them, are dressed contemporarily and obviously reside in the 21st century. They’re clearly alarmed about what’s going on outside their apartment and want to talk to their father. But Darren is too busy. When they try to warn Edith about the rising waters, Darren just shouts for them to call a plumber.    

In Deen’s play, the perfect world of the 1960’s TV comedies, such as “Father Knows Best” and “The Donna Reed Show,” is juxtaposed with today’s world. Sound designer Danny Rockett uses familiar sitcom music that most Baby Boomers will recognize. In addition to depicting the rising waters, projection designer Smooch Medina plays a roll of credits at the end and finally the familiar b&w TV test pattern many of us recognize. Lauren Nichols scenic design is sleek and sitcom perfect, Yvonne Miranda’s costumes are immaculately detailed and Jamie Auer’s props, particularly the multitude of red books of unanswered questions, add so much to this production.

The Chicago cast is exceptional, particularly Linda Reiter, as Edith. Every word, every gesture, even her ever-so-subtle body language is polished and precise. Ms. Reiter was last seen in Shattered Globe’s terrific “London Road,” and the actress is, once again, the star of this production. H.B. Ward also does a fine job as Darren, meticulously building his masterpiece throughout most of the play. But it’s Edith who truly stands out in this production. We see the story through her eyes and watch the growing horror of the oncoming Flood reflected in Ms. Reiter’s incredible performance. Young actors Sarah Patin and Carl Collins nicely portray Edith Junior and Darren Junior in their two short scenes, as well.

It’s true that every play isn’t for every viewer. But for audiences who are comfortable with the strange reality of Theatre of the Absurd, this play can be a breath of fresh air. Skillfully directed, produced and performed, Mashuq Mushtaq Deen’s new futuristic fable is yet another feather in the cap of Chicago’s excellent Shattered Globe. The water is rising but before it engulfs Darren and Edith, they have a dark and often funny story to share.        

Recommended

Reviewed by Colin Douglas

Presented January 25-March 9 by Shattered Globe Theatre at Theater Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available Tickets are available in person at the door, by calling the box office at 773-975-8150 or by going to www.SGTheatre.org/Flood.

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