Wildclaw Theatre, a new Chicago storefront company, proposes to bring the world of horror to area stages. And it does just that with "The Great God Pan," an adaptation of Arthur Machen's little-known Victorian tale of the same name, dramatized and directed by Charley Sherman. This fledgling company has made a bloody name for itself on the Off-Loop theater scene with this singular production.
The play explores the nature of evil as it winds through several bizarre stories involving interesting characters and spanning different countries and many decades. As its through line, the play uses a fictional book, entitled Memoirs to Prove the Existence of the Devil, penned by the main character Clarke. He is portrayed by two actors who represent him at different points in his life.
Tom Hickey is clearly articulate, totally engaging and natural in his portrayal of the younger Clarke, while J. David Moeller, a most dignified older Clarke, is sometimes a bit difficult to hear and understand. Both characters shuttle back and forth in time telling the horrific tale of an acquaintance, Dr. Reynolds, his patient/subject Mary, her demonically conceived offspring Helen and the many characters with whose lives she becomes entangled in a heinous and endless plot of depravity. Michaela Petro, appearing mostly as a mute character, is a wonderfully expressive and entrancing Mary, through whose eyes the initial horror of this story is seen. Lily Mojekwu's bewitching Helen easily and skillfully transforms each situation with style, elegance and animal ferocity, the better to ensnare her next victim. However, it is the fate of one of those victims, played to innocent perfection by Peter Corey, that will stay with you long after the lights dim.
This modest production boasts many excellent special effects by biological properties artist Ryan Oliver; the stage becomes littered with spurting blood and assorted lifelike body parts throughout the production. The mood of the play is audibly enhanced by Adam Kozlowski's brilliant, pulsating sound design. Allison Greaves' costume and makeup designs do much to help create various environments and time periods on what is basically a bare-bones set. With a playing time of almost three hours and two intermissions, the script could use some trimming, but this new company’s earnestness and sheer attempt to entertain and thrill is what remains paramount.
Reviewed by Centerstage!
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