Steppenwolf Theatre's production of 'Catch As Catch Can' by Mia Chung is a thought-provoking exploration of identity and the impact of life's circumstances on our sense of self. The play, which uses three actors to play six characters, is a bold experiment in deconstructionism, a mode of theater that was popular in academic circles a few years ago. However, its success is debatable, especially in its handling of mental health and depression, and its representation of white, working-class New Englanders.
One of the challenges of 'Catch As Catch Can' is its rapid and inorganic shift in tone. The play starts as a study of identity and the impact of external forces on our sense of self, but it quickly shifts to a focus on mental health and depression within a familial construct. This shift feels forced and doesn't quite work, leaving the audience with a sense of unease.
The play's use of doubling, where three actors play six characters, is an interesting experiment. However, it can be confusing for the audience, especially in the first scene where Gary Cole and Tim Hopper play two women of a certain age. The use of gender-neutral casting and the casting of Audrey Francis as a man also adds to the confusion, and it's not clear if this is intentional or just a result of poor execution.
In my opinion, the play's strength lies in its exploration of identity and the impact of external forces on our sense of self. The use of doubling and gender-neutral casting is an interesting experiment, and the play raises important questions about the nature of identity and the impact of societal expectations. However, the play's handling of mental health and depression feels forced and doesn't quite work.
One thing that immediately stands out is the play's focus on the impact of external forces on our sense of self. The return of Tim Phelan sets off a series of crises that highlight the fragility of our sense of self and the impact of external forces on our lives. The play also raises important questions about the nature of identity and the impact of societal expectations, which are thought-provoking and relevant to modern audiences.
However, the play's representation of white, working-class New Englanders feels forced and doesn't quite work. The play's focus on the Phelans and Lavecchias, two intertwined, neighborly, working-class families, feels like a trope, and the play doesn't quite capture the complexities of working-class life. In my opinion, the play's representation of these characters feels like a missed opportunity.
In conclusion, 'Catch As Catch Can' is a thought-provoking exploration of identity and the impact of external forces on our sense of self. However, its handling of mental health and depression feels forced and doesn't quite work, and its representation of white, working-class New Englanders feels like a missed opportunity. The play raises important questions about the nature of identity and the impact of societal expectations, but it ultimately falls short of its potential.
