“I found myself craving fewer, longer scenes, allowing the actors to dive deeper,” writes Tribune critic ChrisJonesTrib.
Mi Kang and Helen Joo Lee in"Villette" by Lookingglass Theatre Company.The distinguished Chicago company, taking risks on original work for a whopping 35 years, had not produced a new show in three years prior to Sunday night’s opening of “Villette,” a new adaptation by Sara Gmitter of the novel by Charlotte Brontë.
It’s been a tough few years, though, and “Villette” is a modest and uneven production that has its moments but doesn’t fully capture the vivacity and lyrical intensity of my favorite of Brontë's novels, published six years after the far more famous “Jane Eyre.
If there’s one thing I’d suggest for this work in progress, it would be more warmth, narrative kindness and a closer relationship with the people in the seats, the theater’s equivalent of the adoring Brontë reader. In some ways, director Tracy Walsh’s production is a deconstruction of “Villette,” a piece of theater that certainly finds the humor in the piece and is appreciative of the wry sensibility. The intent here, I think, is to universalize the story and not worry unduly about the original cultural specifics.
No one here feels especially vulnerable to anything. So, in essence, the show concentrates on a structural critique of the situation in which Lucy finds herself and a celebration of her personal resilience. I found myself craving fewer, longer scenes, allowing the actors to dive deeper without being so interrupted by the sliding doors on Yu Shibagaki’s set, more elegant than functional. But Brontë fans will find plenty here to intrigue them.
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