Take a play that appears to cross Frank Kafka’s The Trial and Edward Gorey’s Gorey Stories and you get Pillowman by Martin McDonagh, now showing at the 40th Street Stage.  This drama tells the tale of Katurian, a fiction writer living in a police state who is interrogated about the gruesome content of his short stories, and their similarities to a number of bizarre incidents occurring in his town.

The play had its world premiere on November 13, 2003 at the Royal National Theatre.  It received the 2004 Olivier Award and an Evening Standard Award nomination for Best New Play.

Overall a strong play with some rather funny moments.  The performances are strong and the acting often quality.  Who stands out?  Tupolski played by Russ Staggs, an officer in this police state who, while wanting the truth, also follows up on what we accept as the right side of the law.  Staggs commands the stage every time he sets foot on it.  He has a true understanding of not just the words he speaks, but also of his (Tupolski’s) objective.  It is great to have an actor who keeps us guessing and doesn't play the end of the play before it arrives. 

Another mention goes to Brian Wrestler who plays Michal, the slow - some may say mentally retarded - brother.  His consistency of his character creates a unique desire for us as an audience to fall into his world and have compassion for him. 

Other performances are good, however there is never really a connection made with this cast.   Each is off giving wonderful performances but never making a connection with each other, therefore never allowing the audience to connect with them.  Realistically, I think it is their age that gets in the way; many of the performers are too young for their roles.

The set, possibly the most elaborate in to take place in the 40th Street Stage is a concrete police interrogation room.  However, when we are told of the stories that were written by Katurian (played by Logan Bennett) the walls open up to create a ‘stage’ in its own right.  On this stage we see the reenactment of his stories done in what one might consider marionette or puppet-like movements.  This is quite enjoyable and well thought out by director Melissa Blue.

Source Theatre is taking on some great ventures which I hope will continue (last year they produced Art, reviewed here).