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George Bernard Shaw divided some of his plays into the pleasant and unpleasant -- the latter definition based on their dealing with subject matters not considered suitable for polite society. Using Shaw's definition, Martin McDonagh needs only one category for his plays to date. Whether set in rural Ireland, like his Leenane series, or in an unnamed totalitarian police state like The Pillowman, his focus is very much on the unpleasant.
Before commenting on the American cast of the Olivier Award winning Pillowman, let me second Lizzie Loveridge's warning to leave the children at home. This pitch-black comedy-- think Kafka but Kafka with as many laugh as chill inducing scenes and crossed with -- is not for the faint-hearted. That leaves enough people to fill the seats at the Booth who are intrigued with a play full of psychological complexity. If you go, you'll try to figure out what you really saw long after the black curtain with its pillow-like edging and central motif descends. Besides pondering the issue of parental abuse as a seedbed for violence and the writers' responsibility for putting out ideas for suggestible readers to act on (like second hand smoke, a form of second hand murder), there's the central puzzle of the main framing device, the Kafkaesque police investigation, is in itself another of Katurian Katurian's stories.
Show Biography - The Pillowman
Arresting as The Pillowman is, I find the enthusiasm of the first round of reviews of the American production just a bit over-the-top -- shades of McDonagh's own over-the-top policemen, Tupolski and Ariel. Being first and foremost a chills and thrills examination of the story teller's arts, it doesn't quite capture the political feel of a country where writers are constantly under surveillance and subject to being permanently silenced. That said, McDonagh's move to a different setting is a welcome sign of his growth and development as one of our more interesting young writers. The chills and thrills are certainly there and the stories within the story of Katurian's horrendous interrogation make for a riveting and very original theatrical nightmare. John Crowley has staged the play's real and surreal elements with enormous flair. The scenes in which some of the stories come to life on a second level are stunning and a welcome relief from the grim interrogation room.
While British plays often lose something when recast with American actors, Mr. Crowley has chosen well. Billy Crudup captures the nervous tension of the writer whose conviction that " there are no happy endings in real life" comes all too true. Michael Stuhlbarg is spectacularly touching as the dim-witted brother and the only human being Katurian really cares about. Jeff Goldblum and Zeljko Ivanek are a perfect match as the handy with the joke good cop Tupolski and the dangerously out of control bad cop, Ariel. Not to be overlooked is Madeleine Martin. The young actress is especially remarkable in the play's story telling highlight scene about a little girl who persists in thinking she's Jesus even as her non-believing adoptive parents act like the Romans who nailed Jesus to the cross.
Judging from the critical and audience response so far, The Pillowman has made a triumphant landing on Broadway. For more details, see the London review that follow the Broadway production notes.
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Arresting as The Pillowman is, I find the enthusiasm of the first round of reviews of the American production just a bit over-the-top -- shades of McDonagh's own over-the-top policemen, Tupolski and Ariel. Being first and foremost a chills and thrills examination of the story teller's arts, it doesn't quite capture the political feel of a country where writers are constantly under surveillance and subject to being permanently silenced. That said, McDonagh's move to a different setting is a welcome sign of his growth and development as one of our more interesting young writers. The chills and thrills are certainly there and the stories within the story of Katurian's horrendous interrogation make for a riveting and very original theatrical nightmare. John Crowley has staged the play's real and surreal elements with enormous flair. The scenes in which some of the stories come to life on a second level are stunning and a welcome relief from the grim interrogation room. 
