Endgame

As a young student pursuing a degree in performing arts, I was both drawn to and repelled by absurdist theatre. Drawn to it because of how its bleak and nihilistic point of view is so balanced with dark humor (oh, the angst of the undergrad theatre major!), and repelled by it because that balance is a tough one to effectively pull off onstage (see above parenthesis).

Ergo, I was both intrigued and trepidatious when I entered the Den Theatre this past weekend, to see The Hypocrites' production of Samuel Beckett's "Endgame." I applaud any company that attempts to tackle Beckett's challenging work, but I have also seen my fair share of mediocre shows when the material like Beckett's is simply above the capabilities of the daring and well-meaning.

Fortunately, I was thrilled to find that The Hypocrites rose to the challenge of "Endgame" beautifully, with a skillfully produced and performed sample of Beckett that I heartily recommend to any interested Chicago theatregoer.

Samuel Beckett (1909-1989) was an Irish writer widely considered to be one of the most influential of the 20th century. Already an established novelist and poet, Beckett began writing for the stage in his 40s, and his first play, "Waiting for Godot," was an international sensation. Beckett's work was groundbreaking in its rejection of realism, its mix of comedy with tragedy, and its often nonsensical dialogue.

"Endgame" gives us a look at four characters in a single act. Clov (Brian Shaw) hobbles along the stage, unable physically to bend his legs. He peers out windows to a never-seen seascape, hinting at a recent apocalyptical event. Clov serves the needs of Hamm (ensemble member Kurt Ehrmann). Blind and unable to stand, Hamm is confined to a chair on casters and barks orders to Clov, who in turn is bound to Hamm by obligation of blood.

There are also Hamm's parents Nagg (Sean Sinitski) and Nell (company member Donna McGough), legless and living in trashcans, popping their heads out when summoned by Hamm. Trapped in the confines of this room and hindered by their physicalities, Hamm and Clov dominate the play, a master-slave duo tied together by mutual need.

In contrast, Nagg and Nell appear more sporadically, exchanging memories of a time before now. Though unable to interact physically (a scene where they try to kiss while confined to their bins is as poignant as it is humorous), the pair clearly share a bond now deepened in the face of their inevitable demise.

It is impossible to summarize the plot of "Endgame" as there isn't one. The characters are trapped in a cyclical existence, repeating gestures and movements and dialogue that are meaningless given the context. The title itself hints at the final moves of a chess match, yet it is unclear who the players of the match really are.

"Endgame," as directed by company member Halena Kays, actually begins before the curtain is drawn. The audience is seated in a theatre decked out for a birthday party, complete with colorful decorations and hats and jellybeans, and lights that shine when characters reminiscence, sometimes directly to the audience. The set itself is housed in a stage wagon, evocative of the vaudevillian influence on absurdist theatre.

The costumes, set and lights (by designers Jessica Kuehnau, Elizabeth Bracken, and Maggie Fullilove-Nugent) are as effective as they are whimsical, pulling the audience into the unusual world of "Endgame," where humor entwines with sorrow. The actors, challenged as they are by a lack of realism in "Endgame," are all at the top of their game here, deftly balancing the humor and ridiculousness of their characters along with their pain and their tragedy.

To be certain, absurdist theatre is often an acquired taste, and many audience members used to more conventional devices may be put-off by "Endgame." (Two people walked out in the middle of the performance I attended). But for those who enjoy the unconventional, or are simply curious about absurdist theatre and Beckett, The Hypocrites' "Endgame" is a first-rate example of the magic that can take place when remarkable material meets capable hands.

"Endgame" runs through April 4 at The Den Theatre Mainstage, 1329-1333 N Milwaukee Ave in Chicago. For information or tickets, call 773-505-1429 or visit www.the-hypocrites.org