The New Theatre of the Absurd

You Will Get Sick

After pondering Steppenwolf Theatre’s latest excellent production, the strangely titled YOU WILL GET SICK, I’ve come to the conclusion that I should simply accept what this play really is. Noah Diaz’s curious and unsettling one-act is actually a throwback to a popular theatre movement from the 20th century. Labeled Theatre of the Absurd, this was a dramatic genre that began in the 1950’s and continued through the 1980’s. Plays of this genre haven’t been written or produced very much lately. Until now. 

Noah Diaz wrote this 85-minute play just before the Covid Pandemic became an international horror story. It’s almost as if the young playwright could foresee the future and predicted what was coming down the pike. His unusual one-act begins with the frightening sound of screeching of birds and continually progresses through unexpected characters experiencing bizarre plot developments that are often funny and occasionally shocking or alarming.

Plays from past Absurdists, like Ionesco, Pirandello, Beckett, Pinter, Stoppard, Albee and even the more recent comedies by the late Christopher Durang entertained and startled audiences with characters trying to find some kind of rational meaning in an irrational universe. A futility of existence in an uncaring world, and an isolation from society and personal relationships, are the hallmarks of this dramatic style of theatre. A lack of meaningful communication between individuals is often seen as hilarious because the results are, well, absurd. Like Beckett’s WAITING FOR GODOT, or Durang’s THE ACTOR’S NIGHTMARE or BEYOND THERAPY, the characters in Noah Diaz’s play dash around acting crazy with, what seems like, no behavioral logic. But this contemporary universe that exists without cell phones is set in a world threatened by a mysterious plague, where giant prehistoric birds swoop down and carry off the sick.

The characters in Diaz’s one-act are only identified in the program as numbers, by actors #1-5, although some names are used during the play. Talented Ensemble member Namir Smallwood returns to the Steppenwolf stage as Character #1, following his recent star turn in THE BOOK OF GRACE, as well as other plays like BUG and TRUE WEST. He plays a young man experiencing a some kind of mysterious illness that causes parts of his body to freeze up and straw to leak from his limbs whenever pain occurs. He has left his phone number posted everywhere in this Big City in an attempt to hire someone to help him. 

Gifted, well-known Steppenwolf Ensemble actor Amy Morton (AUGUST: OSAGE COUNTY, WHO’S AFRAID OF VIRGINIA WOOLF?), a familiar face for television fans of “The Bear” and “Chicago PD,” plays Actor #2. Known in the play as Callan, Ms. Morton portrays a woman in need of money, so she skeptically answers Namir’s ad requesting help. In this flawless portrayal, we come to know a cynical, mercenary, foulmouthed character who ultimately becomes Namir’s caregiver, although every one of his requests requires additional payment. Callan is also a wannabee actress who, in one hilarious scene, drags Namir to her New Age acting class. We then learn that middle-aged Callan is optimistically hoping to be cast as a teenaged Dorothy in a local production of “The Wizard of Oz.”

The other three cast members portray a variety of supporting characters. As Actor #3, Sadieh Rifai (GREY HOUSE at A Red Orchid, A CHRISTMAS CAROL at the Goodman) beautifully plays a spiritually awakened Acting Guru, Namir’s solicitous sister Polly, and others. Steppenwolf Ensemble member Cliff Chamberlain (FOOL FOR LOVE, THE MINUTES) is brilliant and extremely funny as Actor #4, playing another Acting Student, a Waiter who sobs openly, an Insurance Salesman, and other characters. And versatile Jordan Arredondo, Actor #5 (IN THE HEIGHTS at Marriott’s Lincolnshire Theatre, FUN HOME at Paramount) plays an unseen, offstage voice who provides a kind of ethereal narration and the sort of description you’d find if you were reading this play as a short story. Onstage he also nicely portrays the oft-referenced Patrick, Namir’s older brother, in the final moments of the play.

Beautifully Directed by Steppenwolf’s multitalented Artistic Director, Audrey Francis (POTUS, THE THANKSGIVING PLAY) she propels Actor #1 through this bizarre futuristic world, as an unnamed illness ravages his body and large birds attack the sick. She’s mined every ounce of humor from Noah Diaz’s script while keeping a tight focus on a capitalistic relationship that turns into something much more humane. Ms. Francis’ production is made starkly beautiful through a magical Scenic Design by Andrew Boyce, an eerie Lighting Design by Jen Schriever and a fantastic Sound Design by Willow James that actually turns into another character. Kudos also go to Skylar Fox as Magic and Illusions Designer. There’s so many unbelievable moments that pop up in this production!

Through Noah Diaz’s indescribable one-act, YOU WILL GET SICK, we welcome back a style of theatre that’s been missing for a while. In this dramatic genre, rational characters try to make their way through an irrational world. In Theatre of the Absurd the laughs come nonstop, especially in this production, along with our continual contemplation of “What the heck is going on?” But in this new Theatre of the Absurd production, my advice is simple: Sit back, relax and just go with it.                  

Highly Recommended

Reviewed by Colin Douglas

Presented June 5-July 20 by Steppenwolf Theatre Co. in the Downstairs Theatre, 1650 N. Halsted St., Chicago.

Tickets are available in person at the box office, by calling audience services at 312-335-1650 or by going to www.steppenwolf.org.

Additional information about this and other area productions can be found by going to www.theatreinchicago.com