Curiouser and Curiouser; The Murderous Mystery of the Moving Picture

Step into a time of an ultra-wealthy bully masquerading as a genius inventor – wait, scratch that. Step into a different time of a historic ultra-wealthy bully masquerading as a genius inventor.

Based on a true, unsolved mystery, The Curious Circumstances of Louis Le Prince at The Factory Theater transports us to the late 1800’s and a world that was alight with innovation, and aflame with intrigue. The known events raise more questions than answers about the life and disappearance of Louis Le Prince, at what should have been a pinnacle moment of his work. The Factory Theater production is a search for the truth in the breadcrumbs of historic artifacts that will leave you questioning everything while you rage against the tragedy and injustice woven by powerful men.

On its surface the story has all the hallmarks of a penny dreadful: a grieving maybe-widow, an inexplicable disappearance, allegations of cloak-and-dagger maneuverings, deceit, collusion, and death. The Curious Circumstances of Louis Le Prince shines a spotlight on what is yet another incident of Thomas Edison stealing glory. Most importantly, this original script shows us the lives and struggles of the real people caught up in this turn-of-the-century mystery and corporate espionage courtroom drama.

On one hand we have the little-known French artist and engineer, Louis Le Prince (Joe Sergio) and his family. Now Louis is quietly recognized as possibly the first person to shoot a moving picture. On the other side, the tycoon Thomas Edison (Patrick Blashill), presented to U.S. school children as a brilliant inventor, but who is more accurately acknowledged as the money and power over a research and development company employing engineers and creators.

When we enter the story the Le Prince family is wrestling with Louis’ disappearance. The production’s structure moves between scenes of realism with narrative interludes for flawless transitions. Adolphe Le Prince (Ethan Smith), the adult son of Luis, serves as our narrator and point of access into the story. As narrator, Smith has an easy, charming demeanor that welcomes the audience into this world. In scene, Smith’s Adolphe struggles between moderating the unrealistic hopes of his mother, Lizzy (Aimee Kleiman), and running after those hopes at full speed. Smith shows us Adolphe’s excitement at stringing together clues to his father’s work, and his innocent confidence in the justice of the court system. There is an intriguing sequence where Adolphe connects the dots of events, played out with a conceit commonly used in film, where the character recalls pertinent facts from others’ dialogue. Smith creates a compelling crescendo of realization. The recalled clues could be more distinct, perhaps with more dramatic lighting moments.

Through a series of flashbacks Joe Sergio gives us glimpses of Louis that already seem ephemeral, memories not fully grasped by the family. Louis as paranoid and frantic, Louis in a loving exchange with Lizzy, Louis passionate in the throes of his invention. Sergio also portrays Louis’ brother, Albert Le Prince, adeptly switching unique characters in close proximity.

Lizzy Le Prince (Aimee Kleiman) is an indomitable woman, absolutely adamant that she is not a widow. Lizzy is determined to protect her husband’s legacy in a fierce, forced, focus that eschews any negative possibilities. Early on we are somewhat disconnected from her as her single-minded focus keeps her son, Adolphe, a more accessible character. But this is her story, and her powerful spirit is tragically worn away by losses both legal and personal on this journey. As the mother and son investigate Louis’ disappearance, and struggle against powerful, corrupt forces, Kleiman gives us beautifully poignant moments with her beloveds, and tangible longing for her lost husband. Despite her courage and her strength, eventually she must give voice to bitter rage at the injustice done to her family with “the law has nothing to do with justice.”

Patrick Blashill’s Edison is the man you love to hate. He is a convincing corporate villain, a narcissist only focused on his own aggrandizement. Blashill shifts believably through Edison’s tactics and masks; bluster, avuncular cajoling, cold-blooded threats. We can readily believe Blashill’s Edison to be capable of anything. And maybe, just maybe, he was capable of the worst imaginings of this Victorian-era mystery.

Special note must be given to the performances of Ksa Curry as William Dickson, and Joel Ottenheimer as attorney Parker Page. Dickson’s story cries out for its own revelatory production, as Curry’s innovative and rebellious character goes head-on against Edison to reclaim their brainchild. Page sets the family’s investigation into action with hopes of challenging Edison’s claim to the moving picture technology. Ottenheimer hits every moment with a breadth of expression that makes Page fully-realized, with layers and motivations all his own.

The Factory Theater’s props design by Rachel Livingston is wonderfully evocative, and put to creative use. A spread of steamer trunks conveys the place in time, and the repeated travel of the characters. There is an air of adventure, and movement, with the energy of being unsettled that works well with the tensions of the story. The jumble of chests haunts the stage with echoes of Louis Le Prince’s disappearance in transit. Through simple rearranging and ingenious internal structures the trunks provide focused details that transform the space into various locations.

The central feature is a massive porthole, or perhaps an over-sized lens, that is a clever screen for projection designer David Sajewich. Early film shorts and actual historic images flit onto the surface, bringing this medium to the productions style of shifting from scenes of intimate realism to direct narrative breaking the fourth wall. Some projections are also aimed at the floor, though unfortunately these are so close to the audience seating as to be greatly obscured. That said, the projection on the floor still made Lizzy Le Prince’s graveside scene a powerful visual.

The Curious Circumstances of Louis Le Prince reminds us that although an ultra-wealthy bully might win a battle “they don’t get away with it until we give up.” Standing up and telling the truth, exposing the lies, pulling back the curtain on deceit, corruption and violence – that is fighting back. Speaking truth to power is ensuring they don’t get away with it. Even when the battle happened generations ago, bringing that truth to light shines a beacon for us all today.

Recommend.

Reviewed by Soleil Rodrigue

The Curious Circumstances of Louis Le Prince runs Fridays and Saturdays at 8PM, Sundays at 3PM through July 19, and two Thursday performances July 10^th and 17^th at 8PM. All shows at The Factory Theater, 1623 W. Howard St., Chicago.

Tickets are $30 and may be purchased online at TheFactoryTheater.com or by emailing boxoffice@thefactorytheater.com

Additional information about this and other area productions can be found by visiting www.theatreinchicago.comShow original message