Review: Steppenwolf's THE FLICK Deserves Your Viewing

You may have heard of the controversy surrounding the Pulitzer Prize winning play, "The Flick," currently running in Steppenwolf's Upstairs Theatre, that prompted the artistic director of Playwright's Horizons (where the original production was produced) to send out a letter to its subscribers defending the piece. This controversy, however, was not a result of what the script says (often the source of such brouhaha), but rather for what it doesn't. That is, some audience members balked at the extended pauses written into the piece, making it's running time over three hours.

Annie Baker's beautifully written play tells itself through being utterly lifelike, filled with all of the silences, unfinished sentences, and awkward moments reality brings. For some audience members, the mere non-theatricality of "The Flick" becomes a turn-off, the viewing of two employees of a movie theatre (where the play takes place) sweeping up popcorn from the floor such a mundane, everyday task that has no place being showcased onstage.

However, for those who give themselves over to Baker's art that truly, in the most direct sense of the phrase, imitates life, a wonderful theatrical experience can be unearthed. With people, relationships, and situations that feel so relatable, within a structure that feels true to life, the play's effect creeps up on you in ways that prove unexpectedly powerful. Through "The Flick," you find your heart breaking over life's simple disappointments just as much as the larger challenges, perfectly capturing our human experience on both an intellectual and emotional level.

And, thus, in the effort to let the dialogue flow as it naturally would, how do the infamous pauses actually play onstage? They could, perhaps, be deadly in a production where the pauses are only taken simply because they are written in the script. Or, if a director or actor, fearful of an audience becoming bored, tries to fill them up with shtick. However, if a production lets itself organically find those silences that often exist between conversations, especially between coworkers going about their individual tasks, it's easy, as an audience member, to forget there is so much hullabaloo surrounding them.

Steppenwolf's production, which opened this past weekend, helmed by director Dexter Bullard, fortunately, succeeds in this regard. The pauses feel natural and filled with each character's own thoughts, which is more than enough. With the exception of the final moment of the play (a small disappointment where it feels as though Bullard needed to give audiences a final "button" moment, at the expense of the already-established realism, where we get a glimpse of what the production as a whole might want us to take home from the piece instead of having the audience come to this on their own), the actors don't feel the need to make sure the audience is aware of their inner monologue, although the ease and unforced nature with which the silences play out leave no question that their minds are working. These moments also give the audience a chance to find themselves in the brains of the characters in way not all plays allow for. In its realistic expression, "The Flick" actually allows taking the time to acknowledge and assess these little moments of our lives, which in turn, actually theatricalize them more than other, more blatant, attempts to appeal to audiences.

Looking beyond those controversial pauses, Bullard's direction, as a whole, along with a talented four member cast, does a formidable job living up to Baker's script. However, in a show written with so much naturalism the moments that don't ring true become even more pronounced and, in this production, there are a few moments that interrupt the otherwise consistent world of the play.

This feels most prominent in the moments of humor which, in the script, are just as natural as the rest of the piece. However, through Bullard's direction, it feels as though the cast is playing up these moments, not only breaking the carefully crafted reality, but rendering these moments not as funny had they been played as naturally as they are written. When the movie theatre's projectionist, Rose (played by Caroline Neff), throws a one-person dance party, most of the dance is played out to the audience. When Sam (Danny McCarthy) gallantly declares he will clean up a bathroom mess, he puts on such an air of bravado that seems more fit for a farce. In a scene where a movie-goer (Will Allan) remains asleep in his seat even as the employees come in to clean up, the situation comes close to becoming a "bit." The inclusion of elementary sound effects played during the transitions (the sound of dialing a phone before a scene where a character is on a call) feel like they belong in an entirely different play. Instances like these remind the audience the people onstage are performing for us and it's in these moments where Steppenwolf's production doesn't quite reach the brilliance of the original production.

Similarly, Neff's portrayal of Rose (who feels a bit miscast age-wise), although acted well, feels inconsistent. Though Rose is a figure that fellow coworker Avery (played by Travis Turner) admits to thinking she puts on a façade, in Rose's more outlandish moments (of which she has a few), it feels like Neff is putting on an act, rather than Rose putting on an act. It then makes Rose's more sincere moments, though beautifully acted and often quite moving, feel inconsistent with the character.

There also a lack of genuinely felt friendship between McCarthy and Turner's characters in the beginning of play that is a vital missing piece. Their relationship feels clearer in the second act, but the lack of an earlier comradery does sacrifice some of the weight of later events.

These qualms, though disappointing, certainly do not overshadow this otherwise formidable production of this excellent play. We Chicagoans should feel lucky to have such a good, solid production of "The Flick" to experience for ourselves. For those interested in theatre or who are regular theatre-goers, it feels extra significant to attend this production, not only because the play snagged the Pulitzer Prize, but also being one that inspired so much heated debate. To this theatre lover, Steppenwolf's production puts up a solid defense for why "The Flick" has earned the accolades it has. Agree or disagree, this play certainly extends the conversation among its audiences well past leaving the theatre, making it well worth purchasing a ticket, experiencing it, and then engaging in the discussion yourself.

"The Flick" is currently playing at Steppenwolf Theatre Company (1650 N. Halsted St.) through May 8th, 2016. Tickets range from $20 - $89 (along with day-off and student discounts available) and can be purchased at www.steppenwolf.org or by calling (312) 335-1650.

Photos Courtesy of: Michael Brosilow

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