Some people shy away from small theater companies producing lesser−known works because they don't believe in unknown entities. A historical tragedy with jolting anachronisms, on a stage in an old piano factory in Boston that seats 49 audience members? Why would I go to that?
Going to see small theater companies is a unique experience because rarely do theatergoers get to enjoy pieces so beloved by those working on it. Whistler in the Dark is one of those companies that it's impossible not to root for, and its latest production, "The Europeans," makes this all the more apparent.
Whistler in the Dark's self−proposed mission is to put on linguistically and physically challenging plays that both ask deep questions and bring young people back to being excited about theater. Six out of the 11 cast members of "The Europeans" had worked with the company before, prior to Friday night's show. Director and Artistic Director of the company Meg Taintor gave the curtain speech, saying that she loved this play "with all [her] heart." And in intimate theater, this kind of love shows in the performance.
Controversial playwright Howard Barker, a man born to working−class parents in South London in 1946, wrote "The Europeans." He invented his own "Theatre of Catastrophe," hoping to return tragedy to the stage and break down uniform audience reactions. He looked to create situations on stage that were complicated and multifaceted and that every audience member would react to differently.
Barker's layered approach to storytelling is certainly evident in "The Europeans," which explores the aftermath of the 1683 siege of Vienna by the Ottoman Empire against the Holy Roman Empire. Though the Turks have been successfully pushed out, they have left behind a city very much changed by war, rape, starvation and confused expectations of stability and peace.
It is an odd piece. Major characters include not only the emperor and empress of Austria, but also a corrupt, low−ranking clergyman and a woman ravaged by a violent gang rape. In one neat little package, many different aspects of humanity after siege are given voices and a shared presence.
The actors treat this complicated play with great care, and the outcome is an enhanced experience for the audience. In a play where themes include different ways of feeling shame, confusion about the nature of rebirth, where to find guidance in the world and how to construct an identity, each character is played genuinely by the actors. That sincerity allows the audience to fully appreciate and consider the questions raised by both the play and the company.
Taintor has done a masterful job with the staging of the production. With a tricky traverse stage set−up, a very minimal collection of props and sets are used to great effect; clever staging means sightlines are never compromised, and the viewing experience isn't marred with occasional views of actors' behinds for extended periods of time. The cast is extremely tight and aware of one another, and though it is not an excessively physical show, the physical aspect is certainly strong.
There are hardly any negatives to this production. Since its arrival on the Boston theater scene in 2005, Whistler has been an exciting presence and has attracted engaging, young talent. The only potential for disappointment may be the convoluted subject matter itself — Howard Barker's work is performed by small and fringe companies for a reason; he does not write to a mainstream taste.
But try something new and go see what reaction you have to this small company's interpretation of Barker's Theatre of Catastrophe. This is a show that does not deserve to be missed.
