Steppenwolf Theatre's production of 'Catch As Catch Can' by Mia Chung presents a complex exploration of identity and role-playing, leaving audiences with a sense of confusion and intrigue. The play's innovative use of doubling, where three actors portray six characters, is a bold structural choice that aims to challenge conventional theater norms. However, the reviewer, Chris Jones, suggests that this approach may have inadvertently confused some audience members, particularly during the opening night. The play's exploration of identity and the impact of external circumstances on our sense of self is a thought-provoking theme, but the execution could have been more effective.
Jones highlights the challenge of maintaining clarity in character roles, especially in the first scene where Gary Cole and Tim Hopper play two women of a certain age. The use of stereotypes and the subsequent revelation that they are playing women adds an interesting layer of complexity, but it also sent some audience members in different directions. The reviewer notes that the performance improved once Audrey Francis took center stage, showcasing her exceptional ability to embody male energy. The use of two Asian American actors in the production is seen as a positive step, enhancing the resonance of the play's themes.
The play's narrative takes an unexpected turn in the middle, shifting its focus to mental health and depression within a familial context. This rapid change in tone, according to Jones, feels inorganic and may not resonate with the intended audience. The reviewer also points out the potential insensitivity of portraying white, working-class New Englanders, a group that is often targeted by elite theaters. Despite the play's deconstructionist approach, which was popular in academic theater circles a few years ago, Jones questions its long-term viability, especially in a theater known for its grounded and realistic productions.
In conclusion, 'Catch As Catch Can' presents a thought-provoking exploration of identity and role-playing, but its execution may leave some audience members perplexed. The play's structural choices and narrative shifts could benefit from further refinement to ensure a more coherent and engaging experience. The use of stereotypes and the portrayal of specific cultural groups require careful consideration to avoid insensitivity. Overall, the play offers a unique perspective on the complexities of human identity, but it may not be universally accessible or well-received.
