Unlike many feel-good shows that pick audiences up but can’t keep them aloft, Come From Away’s perfect balance of comedy and clarity leaves you soaring for days to come.
Alistair McDowall’s Pomona wears its influences on its sleeve—film noir, Dungeons & Dragons, the horror oeuvre of H.P. Lovecraft—yet it still feels bracingly original. At the center of this stunning play sits the island of Pomona, a blasted strip that floats in Manchester like a black hole at the heart of a cold, unfeeling cosmos. McDowall takes a simple premise—a young woman, Ollie (Amber Sallis), searching for her sister in Manchester’s criminal underbelly—and turns it into a rabbit hole leading down to the gates of Hell. In the play’s bleak estimation, there is no guiding hand of fate; if there is a God, he’s playing 20-sided dice with the universe. But unlike many dark-minded works, Pomona is also a wildly good time: a surreal puzzle box that is equal parts dream logic and classic gumshoe mystery. Confirming Steep Theatre Company’s reputation as Chicago’s go-to spot for contemporary British theater, director Robin Witt hones Pomona’s plotting to a razor-sharp point, much as the play itself whittles the existential dread of Lovecraft’s Cthulhu mythos down to human proportions. (The demonic elder god himself is represented by a rubber mask whose wearer lurks in the voluminous shadows of Brandon Wardell’s lighting design.) McDowall’s labyrinthine plot moves backwards and forwards through time, intertwining Ollie’s search with the stories of two hired goons (Nate Faust and Brandon Rivera), a sex worker (Ashlyn Lozano), a crime boss (Jamila Tyler), a mysterious D&D enthusiast
Steppenwolf takes another run at the show that put it on the map.