COMEDY OF HORRORS
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Somewhere in Thompson’s brain an idea is percolating–an idea for a play dramatizing, in strong but funny fashion, the situation of a Chicago off-Loop nonunion actor. In Comedy of Horrors, that idea surfaces from time to time–in abrupt, tart references to Actors’ Equity, the League of Chicago Theatres, and the “Joker Jefferson Committee.” Certainly the basic premise of Thompson’s play, which is having its world premiere as the opening production of the Commons Theatre’s tenth season, is the worst nightmare of any actor, regardless of union affiliation or geographical location. In fact, it seems lifted from a play called The Actor’s Nightmare, by Christopher Durang, in which an actor finds himself onstage in a sort of twilight zone in which he doesn’t know what he’s supposed to do, what lines he’s supposed to say, or who the other actors are.
That is the situation that Jack, the hero of Thompson’s play, finds himself in. Strolling calmly onto the stage to deliver one of those “welcome to our theater and please subscribe” speeches that audiences hope won’t go on too long, Jack is suddenly stripped to his underwear and thrust into a performance of Shakespeare’s The Comedy of Errors, having been assigned the roles of two twin brothers who are both named Antipholus. But since the two Antipholuses (Antipholi?) are not supposed to be played by the same actor, Jack is a bit nonplussed; what’s worse, his fellow actors appear to be a collection of ghouls, sorcerers, and vampires.
Art accompanying story in printed newspaper (not available in this archive): photo/David Renar.
