“Sometimes a fantastic piece of art is offered at the perfect cultural moment for receiving its honesty, and it amplifies a work that would still be effective in a vacuum. Such is the case with Goodman Theatre’s Chicago premiere of The Wolvesfrom playwright Sarah DeLappe.
#MeToo meets the empowered social consciousness of Generation Z in this 2017 Pulitzer Prize finalist. DeLappe’s work introduces a number of twists to bring freshness to the teen girl coming-of-age comedy-drama. For one, all of the onstage action occurs on a truncated soccer field. Scenic design veteran Collette Pollard, a regular Goodman contributor, should clear space on her mantel come awards season. By the end of the performance, I was ready to fold my program into a Jeff Award and hand it to her. It’s hard to overstate how well the creative team as a whole executes DeLappe’s vision.
The dynamic and diverse cast of 10 young women who make up the players and supporters of a fictional soccer club do so much more than provide an audience with real, accessible and imperfect characters. The Wolves is a literal exercise in personal growth. For 90 minutes, these girls grapple with issues as complex and relevant as racism, eating disorders, death, sexual discovery, menstruation, gender dynamics and more – all while doing calisthenics. It’s like watching old Michael Jackson concert footage – how could he continue singing full-throated AND dance that way?”
“The show, as it were, belongs to Guinan, as it frequently does when one finds him in the Playbill. Francis Guinan joined the Steppenwolf Theatre Company in 1979, the same year as his friend and collaborator John Mahoney. The two also shared screen time during Mahoney’s long run on Frasier.
There is a scene toward the end of the second act where an increasingly frail Dad sheds a few subtle tears while discussing the trajectory of his life with Mae. There is no doubt that Guinan’s prodigious talent and emotional range includes the ability to weep on demand. But Wednesday’s night’s performance had something else that the actor was willing to share with his audience. The vulnerability of a man grieving the loss of a friend, dead of the very same disease that afflicts Dad. Guinan did not weep alone. The muffled sobs of hardened theatergoers were audible in the scene’s moments of quiet.
The latest Steppenwolf production of You Got Older would be a terrific success without the ghost of John Mahoney floating around the edges. It’s stripped down, raw human experience across the psychological spectrum. And the material is in the hands of a wildly capable cast and crew. But Mahoney is there, and his creative presence adds an additional layer of urgency. This is one to see.”