Displaying items by tag: Idle Muse Theatre

“We see what we choose to see… And yet, one of the first questions we have to ask ourselves as reasoning beings when it comes to the question of ‘truth’ is… What can we see? What did people witness? What do they remember?”

Director Tristan Brandon kicks off his director’s note with the above. What is true, and how do we know? So often we see what we want to see, and when we do not understand something, we fill in the blanks with that which makes it familiar.

The story of Erzsébet Báthory (Laura Jones-Macknin) is a fascinating one – one that many likely do not know. I certainly knew little before attending Idle Muse’s world premiere. Having recently lost her husband, Báthory, as a woman, is left with few options.  Her son, Pál Nádasdy (Xavier Lagunas) certainly does not have any interest in being Count. He would prefer to travel and do his part fighting in the impending war – much to his mother’s dismay. Báthory is stuck alone managing a castle in the 1600s – a time where women were certainly not trusted to lead anything without a man. And so, we return to Brandon’s quote:

“We see what we choose to see.”

As Báthory struggles to maintain a staff and keep everything afloat, the surrounding towns resort to gossip. A woman simply cannot manage anything without a man, and therefore, there must be a dark reason. If maids and never come out, what other possible solution is there but murder? Rumors of murder can so easily transform and grow. Suddenly Báthory is the Blood Countess. She clearly must be drinking the blood of her staff to stay young and in power. A countess who just wants her son to come home slowly becomes a monster that everyone fears – and surrounding rulers feel the need to take down.

It is in this mystery that Playwright Michael Dalberg found his play, and from there, a story of blood, murder, and even a little magic thrown into the mix. Out of a desire to stay alive until her son can come home, Báthory begins to drink the blood of her staff. If they never leave the castle, how is anyone to know? With immortal beauty and youth, she can keep everything afloat until the Count returns. However, not everyone is willing to allow a woman to maintain her power – particularly with all the rumors regarding how she is managing to do so. The question is, can she manage to keep up the facade until she is reunited with her son? More than that, will she manage not to lose herself in the process?

Brandon’s artistic team transforms the black box space – creatively drawing the audience into the dark horror. Lighting Designer Laura J. Wiley and Sound Designer L.J. Luthringer collaborate to heighten the dramatic tension in their designs. The space lives in a constant darkness – with undertones of red thrown into the mix that foreshadow the blood to come. Luthringer creates a heartbeat for the play that quickens with tension – particularly as Báthory’s choices become increasingly more villainous. With the intimacy that Scenic Designer Jeremiah Barr invites, you might find it hard not to lean in and feel the nervousness alongside the characters surrounding Báthory.

Living within this world is a cast of strong ensemble members. Jones-Macknin at the helm does not disappoint as Báthory. She strikes a balance, allowing the audience to feel for her long lines while at the same time fearing what she might do next.

With striking design and a talented ensemble, The Blood Countess brings a hidden history to light. If you are one who hungers for spooky stories as we shift into the fall season, Idle Muse might have one just for you.

*This review is also shared on https://www.theatreinchicago.com/!  

The Blood Countess runs through October 11 at The Edge Theatre Off Broadway. For tickets and information, see the Idle Muse Theatre Company website.

Recommended

Shakespeare the dramatist is a genius at the craft of theater, and brings a timeless artistry that is unexcelled. So it was with some trepidation that I took my seat at the Edge Off-Broadway Theatre for Idle Muse’s 'Upon This Shore: Pericles and the Daughters of Tyre.'

I can report Shakespeare remains intact, the language there, and the production and performances exploiting the full force of his original. Admittedly I was filled with bias against what might unfold in this adaptation of Shakespeare’s original ‘Pericles, Prince of Tyre.’ In a nod to topicality, perhaps - March is Women’s History Month - Idle Muse’s production offers some characters Shakespeare may not have imagined. Avoiding a spoiler here, suffice it to say the arc of the action and the emotive power of Shakespeare are unaffected by these additions and ticket buyers will probably enjoy them.

Director Evan Jackson, who adapted the script, gives us a very strong rendering of ‘Pericles,’ eliciting strong performances and engaging staging, with low-tech storefront creativity in storms and sword fights that assures “the play’s the thing,' and is not overshadowed by the stage mechnics. 

Particularly strong is the performance of Brendan Hutt as Pericles, who moves convincingly through the stages of the prince’s life from venturer to suitor to grieving widower. Hutt brought me near tears with his loss of wife and daughter, and just as readily my heart tracked his transformation to joy when the happy resolution arrives at the end. 

Laura Jones Macknin as Heilicanus owns the stage each time she appears. Watson Swift in three roles (Antiochus, Simonides, and Philomen) is strong in his physical performances, though I could not always understand him as he moved about the stage in his role as the villainous Antiochus. Caty Gordon is exceptionally good as Marina, Pericles' lost and regained daughter. She communicates the essence of a powerful woman through the trials she weathers in the shifting stations of her life.

'Upon This Shore: Pericles and the Daughters of Tyre' runs through April 3 at Edge Off-Broadway Theatre, 1133 W. Catalpa Ave. in Chicago on Thursdays, Fridays and Saturdays. Visit idlemuse.org or the Idle Muse Theatre Company Box Office, 773.340.9438.