Scottish playwright David Harrover, who will probably be the best aware of the 2005 play “Blackbird”, the Chicago Theater fans, not that any theater will dare to produce the game that is now a famous minimum scribe. His work is also poetic and intense.
A few years ago, when she emerged as part of the authors of the UK’s so-called in-ear-faes group, Heroover gave an interview to The Guardian. His negotiator asked if he was part of the “exciting time” for the British theater. His response? “Once upon a time, it is especially ‘exciting’ meaningless. It is a word that explains anything – perhaps why this theater is omnipresent in publicity.”
So this is a clue as the man’s gesture.
There is no standing theater from such writers; In contrast, it specializes in them. And the new production of Harowar’s “A Slow Air”, with the center Thulin and Peter Moore, two of the two most famous actors of step, is sufficient evidence of the benefits of experience.
The premiere of the premiere in Scotland in 2011, focusing on a 2007 incident at Glasgow Airport, in which a pair of terrorists, Bilal Abdullah and Kafel Ahmed fired a jeep Cheroki filled with propain tanks in the terminal building, who was injured five. Gaya, survived himself, although he said that he intended to die) and harassing Scotland, who had not seen the liking since the locker and Pan M Flight 103 in 1988. Just that level expansion is probably enough to explain why a theater may be interested in this drama, recently given a German Christmas market and events in New Orleans.
Harowar, partly set his drama in a diverse Glasgow suburb called Houston, where two terrorists were there, and partially there may be geographically close but culturally different in the suburban Edinburgh. We listen to two overlapping monologue spoken by a pair of Astraned siblings for a long time. Morna (Thulin) is alive. Some of an aging winding, she cleanses posh houses and loves U2. Ethol is more subdued, or more tightly wound, at least on the surface. He installs floors in homes for a living and likes the band simple minds, and, yes, matters to play the band. I will stay there, in addition to note that Morna’s adult son shows in place of Ethol, which affects Ethol and her community. Whatever you have emerged in real time, it is better to experience it.
If you go, expect to burn slow but a lot of flames, which makes it difficult to see. The event I expanded above is a background, mostly, or perhaps not; Either way, “a slow air” is not as much a study of terrorism as one of the partition or isolation, which is definitely relevant. The attractive thing about this drama is how well the writer teases such subjects that actually feel like a simple, working class interaction between two scots, takes stains, but perhaps (perhaps ( Only probably) some hunger for unity. In the context of Britain, of course, it is more resonant.
Thulin and Moore have worked countless times in Chicago and you can tell. Both of them are excellent here under the careful direction of Robin Wit; Thulin comes with its familiar dialectical excellence and the sculptures come with their signature ability to dissect the introverted men that do not fully know what they are (or may) enabled.
You should know that you are watching two monologue spoken by the untouchable storytellers in a foggy room and this drama is the work of a writer who expresses emotion and meaning with only a very spectacular blow.
This is not a “exciting” drama. Harowar will not know how to write (or want) to write. But since I went out of the steep door, I could not shake it.
Chris Jones is a tribune critic.
cjones5@chicagotribune.com
Review: “a slow air” (3.5 stars)
When: through 1 March
Where: The Edge of Broadway, 1133 W. Catalpa Avenue.
Running Time: 1 hour, 25 minutes.
Tickets: $ 35- $ 45 on 773-649-3186 and Steeptheatre.com