***** As we entered the main floor, Downstairs Theatre at Steppenwolf, and saw the set for their current production, we were in awe. Collette Pollard has created what appears to be the interior of a sort of castle, or perhaps a lighthouse that is three plus stories high with a lower level that we never see. As it turns out, in “The Dance of Death” written by August Strindberg with a new adaptation by Conor McPherson, we are in what they tell us is a converted prison, now the home of Alice ( a dynamic portrayal by Kathryn Erbe) and Edgar ( Jeff Perry is amazing) who are about to celebrate 25 years of marriage. He is in the military and she is the homemaker, but with servants, who we learn have left her.
In some ways, the marriage that we witness is like “The War Of The Roses”, but with more words than actions. While they appear to have a normal life at first, as the play progresses, we learn that they have their own little, and in some cases, large disagreements and many lies and secrets. The third person in this story is Kurt ( deftly handled by Cliff Chamberlain). He is an old friend, an old flame, and it is his life and pains that cause the story to go forward and create new lies and new secrets on this unnamed island. 
While the set is our first glimpse into the overall production that Steppenwolf has brought us, it is the sharp direction by Yasen Peyankov and the skilled character building of the three performers that hold us spellbound as we witness the marital battle, a little bit of larceny, lots of lies and even a little about love triangles and bitterness as well as the aging process. If you watch very closely ( and we did), you can see just how realistic these three performers are in bringing these characters to life. This production is one that you should truly make it a point to witness. 
The technical part of the production is as flawless as the performance part. The lighting ( Lee Fiskness) and sound ( Rick Sims, who also did the original spellbinding music) and costumes ( Ana Kuzmanic) are what we have learned to expect at Steppenwolf, perfection!. This play calls for fighting and intimacy, so hats off to Jyrika Guest, as there was a great deal of action in these categories and the “movement” consultant Claire Kaplan. I am unsure of the propmaster, but they should also be applauded for the great number of items that are needed to make this production as powerful as it is.
Running time: 2hours and 15 minutes with one intermission, but it will seem much faster as there is a great deal of action in this marital go-round. We see many ups and down, hate and love, love and hate, but some of the best theater you will see!
“The Dance of Death” will continue Thru – Mar 22nd with performances as follows:
Tuesdays Feb 10th, 24th and March ,10th 7:30pm
Box Office: 312-335-1650
Steppenwolf Theatre is located at 1650 N. Halsted
To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “The Dance of Death”.
photos: Michael Brosilow
Review: The Dance of Death
BY:
Paul Lisnek, Behind the Curtain; WGN+/WGNradio.com
****/4
Steppenwolf Theatre’s The Dance of Death is an exciting triumph of what live theater is meant to be — a complex waltz of love, hate, jealousy, resentment, and survival performed with deep honesty by a talented cast. This dark portrait of marriage is both tragic and intrinsically funny, thanks to the unflinching direction of ensemble member Yasen Peyankov who knows how to blend humor into anger.
Jeff Perry’s performance as Captain Edgar establishes the production with both emotional intelligence and military style timing. He superbly balances the play’s absurd moments with a dose of gallows humor, counterbalanced by tenderness; it’s a performance that keeps the audience on the edge of their seats wondering what moment of sabotage is coming next. Opposite him, Kathryn Erbe transforms before our very eyes as Alice, showing a blend of deep-seated anger or hate, but tempered with a sense of vulnerability shown thru humor. Together, they create a marital battlefield, but one that feels relatable today. Steppenwolf ensemble actors are never afraid to go all in.
It’s a play originally written long ago by August Strindberg but Conor McPherson’s adaptation gives it a sense of timeless relevance.
Visually and rhythmically, Dance of Death is quintessential Steppenwolf — it’s simultaneously intimate, fearless, and daring and actor driven by three fantastic artists at the height of their theatrical power. It’s one more reason that Steppenwolf remains a crown jewel of Chicago theater. Indeed, it’s why an evening of live theater still matters today.
Paul M. Lisnek, J.D., Ph.D.
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