Reviewer: Lisa Purchase
Venue: Creative 360
Fairy-tales start with “Once upon a time …”, but they don’t always end with “happily ever after.” — by Lisa Purchase-Barnes
Filled with suspense and dread, Friction Theatre’s production of The Pillowman is a daring piece of theatre that pushes boundaries and lingers in the mind. With subtle (and not so subtle) nods to Catch-22, Of Mice and Men, and the grimmest of Brothers Grimm, Martin McDonagh’s twisted tale weaves together unsettling humor, visceral violence, and deep emotional complexity in a way few plays can. This production nails the balance between tension and levity, creating a nightmarish dreamscape that is as gripping as it is disturbing.
The story plays out like a shell game of “Who’s the Pyscho?”, and our perceptions are thwarted throughout. There is no statement, no action, and no backstory that can be relied on in this shifting landscape of cause and effect, protection and blame, truth and fiction, comfort and killing.
The cast keeps up with the densely packed dialogue with clarity, timing, and nuance. Chris Krause’s portrayal of Katurian is a study in subtlety and depth. As circumstances unfold, Katurian emerges as the only potential grown-up in the room, and as such he manages to balance intense emotion with understated calm. He inhabits the stage for nearly the entire 140-minute runtime, with a performance that is reserved yet brimming with intensity, embodying the a desperate character in a way that is both heartbreaking and captivating.
The two detectives, Tupolski (Sam Nowak) and Ariel (Aaron Mealy), frequently and specifically remind us of their lack of boundaries because they are working for a totalitarian, dystopian state … they can do as they please, and they’re happy with their power as judge, jury, and executioner. They play off each other in a good-cop/bad-cop routine that serves as a framework for much of the twisted humor of this play. Nowak’s comedic timing is impeccable, delivering some of the darkest humor in the play with a perfect sense of awkwardness and inappropriateness. Mealy’s portrayal of Ariel is sharp and volatile, an aggressive force that complements Nowak’s more calculated character. Their tag-team delivery keeps the dialogue and the plot moving forward and keeps the audience guessing as to what’s next.
The character of Michal, played by Carson Cerney, adds another level of emotional weight to the production. His portrayal of the mentally disabled brother is haunting and understated, providing some of the most poignant moments in the play. Cerney’s role elevates the emotional stakes and brings a gut-wrenching literary familiarity to the tragedy.
Megan Krause Meyer’s direction expertly guides the cast through McDonagh’s dense dialogue and dark narrative with clarity and precision. The blocking and staging keep things moving with shifting focus, cresting moments that feel spontaneous and reactionary. The moments of humor—dark and unexpected—land with perfect timing, and the more harrowing scenes are staged in a way that heightens their discomfort without losing their emotional resonance.
The design elements are equally impressive. Claudia Marsh’s lighting creates a contrast between the stark reality of the police station and the surreal, dreamlike quality of Katurian’s stories. Gi Padavana’s set decor — with its seeping metal walls and phantasmagorical backdrop — further blurs the lines between the real and the fantastical, setting the tone for the eerie atmosphere that permeates the entire production. The actors who mostly pantomime Katurian’s characters—Andrew Fergerson, Ella McKane-Wright, and the remarkable 7-year-old Mia Krause (who solemnly plays all the children in the flashbacks and fables, and who has her own tender, haunting moment with the fairy-tale Pillowman)—bring the bizarre nightmare worlds to life, embodying their roles in a way that is as unsettling as it is captivating.
Despite its 2003 debut, The Pillowman offers modern societal commentary as those in power do as they please, and the powerless cringe in the underlying hope that appeasement and cooperation will somehow mitigate cruelty from above. The detective’s early boast, “We like executing writers; it sends a message,” sends a particular shiver up one’s spine.
Ultimately, The Pillowman is a play that will challenge and provoke, offering a unique theatrical experience that is as uncomfortable as it is brilliant. The combination of dark humor, poignant emotional depth, and striking performances creates a memorable experience that will stay with you long after the performance ends. This production is not for the faint of heart, but for those who are willing to confront darkness with a twisted sense of humor, it offers an unforgettable ride.
Please note the content warnings for language, violence, and general nightmarishness. This show is rated R for language and violence. Slurs will be slung, and blood will be spilled. You will be angered as well as entertained.
The Friction Theatre’s The Pillowman — written by Martin McDonagh and directed by Megan Krause Meyer — runs at Midland’s Creative 360 (5501 Jefferson Ave., Midland MI 48640) February 21, 22, 28, & March 1 at 8pm. Advance tickets are $30, Student tickets are $25, and tickets at the door are $35. Online tickets and can be found at www.thefrictiontheatre.org/pillowman.