“After The Blast” reviewed by Edie Reese

[rating=5]How do we form bonds and connect in uncertain times? What role should artificial intelligence play in our lives? To what extent should the government control the information we receive when survival is tenuous? These are some of the timely issues addressed in Broken Nose Theatre’s production of Zoe Kazan’s “After the Blast,” playing now through June 11 at the Den Theatre, 1331 North Milwaukee Ave. in Chicago’s Wicker Park neighborhood.

The 48-seat theater initially features Lighting Designer Cat Davis’ simple but brilliant design; a series of suspended lit cubes, indicating a futuristic setting. During the show, the cubes change color, intensifying the mood of the scene.

The show is set in the future—three generations following a nuclear blast which sent humans underground to live. Partners Anna and Oliver want to have a child (for which they need governmental permission), despite Anna’s struggles with depression. Anna’s and Oliver’s lives are forever changed when Oliver brings home a small “companion robot” which they name “Arthur.” In this production “Arthur” is a cleverly designed creation of Jabberwocky Marionettes. He is operated and voiced by Arielle Leverette. Ms. Leverette masters the robot’s flat speaking style, yet somehow imbues the character with a smidgen of charm which makes him endearing. It is no wonder that Anna (played with fierce intensity by Kim Boler) becomes attached to the little robot.

Reuben Carrazana is Anna’s partner, Oliver. Oliver’s job is working for the government’s “secret” sector, which is literally entrusted with the survival of humanity. Although overwhelmingly stressed, Oliver is completely devoted to Anna. Mr. Carrazana turns in a searing performance.

At this performance, understudy Taylor B. Hill went on as Carrie, Anna’s best friend. Carrie is in the position that Anna wishes to be in—pregnant and then a new mother. I had “sympathy back pains” with Carrie, even though I’m old enough to be a grandmother. Rounding out the cast with excellent performances are David Lipschutz as Patrick/Lowes and Ana Ortiz-Monasterio Draa as Margarita.

Director JD Caudill and Assistant Director Allison Petrillo do a phenomenal job of interpreting this timely story. In the program notes, Director Caudill states that they originally read this play during the COVID pandemic. The themes of isolation, mental health and uncertainty for the future certainly resonate now as they did then. Rae Segbawu creates a futuristic mood with their Sound Design. Scenic Designer Therese Ritchie keeps the set minimal and the sight lines open. Technical Director Evan Sposato, Production Manager Rose Hamill, Stage Manager Adriana Rodriguez, Assistant Stage Manager Jacob R. Shaffer and Master Electrician Mike McShane make sure that the production runs smoothly. Completing the technical side of the production are Jessica Van Winkle (Costume Designer), AJ Morley (Props Designer) and Jennifer L. Mickelson (Intimacy Designer).

Regular performances are

Thursdays, Fridays and Saturdays at 7:30 pm,

Sundays at 3 pm.
Industry Night is Monday, May 30 at 7:30 pm
Understudy Night is Wednesday, June 8 at 7:30 pm

Currently Broken Nose Theatre is adhering to a COVID protocol which includes masking when not eating or drinking and proof of vaccination to attend any event. Broken Nose Theatre is one of four resident theater companies at The Den Theatre, an historic building in the Wicker Park neighborhood (1331 North Milwaukee Ave, Chicago). For the latest information on COVID policy, visit thedentheatre.com/covid19-policy. Please note that stair climbing is required to get to the venue.

Broken Nose Theatre has a unique “Pay-What-You-Can” admissions policy. This means that patrons set their own price for the shows they see. Tickets are available at brokennosetheatre.com and thedentheatre.com. Parking is on the street; mostly metered. Please allow time to search for parking before the show. Dining options are plentiful and varied.

Broken Nose’s unusual moniker comes from a quote from writer Nelson Algren describing Chicago:
Yet once you’ve come to be a part of this particular patch, you’ll never love another. Like loving a woman with a broken nose, you may find lovelier lovelies, but never a lovely so real.

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at ” After The Blast”.