“Octet” reviewed by Paul Lisnek Curtain Call Chicago

***1/2 of 4 “Octet” at Raven Theatre begins with a quiet simplistic intensity that builds into something deeply unsettling, unexpectedly moving and shockingly relatable. Dave Malloy’s chamber musical, centered on a support group for internet addiction, is intellectually rich —but in Raven’s intimate space, it becomes something far more striking and immediate: an almost in your face examination of how we all fracture ourselves in this digital age.

Director Keira Fromm leans into the claustrophobia of the piece. She stages the ensemble in a tight close proximity so that every confession feels personal and inescapable. The production doesn’t just depict the isolation of the individual group members— it simultaneously leads the audience to feel complicit in it. Are we observing ourselves on stage?

What makes this production of Octet compelling is its cast, many of whom are well known to Chicago audiences. The ensemble navigates Malloy’s incredibly complex score with perfect precision. Credit must go in large part to music director (and Chicago treasure) Nick Sula who insures the harmonies are perfect, the beats match up as they must. Each performer feels like a fully realized and formed person rather than a stereotype of what could simply be called a variation of a version of “internet dysfunction.”

Standouts include the performer playing Marvin (Jordan Golding), whose unraveling and less musically melodic moment is handled with a raw and piercing vulnerability. Equally compelling are the performances of Neala Barron and Teressa LaGamba who bring a quiet, aching sincerity to their monologues but showcase their powerhouse voices which dominate (in a good way) their moments.  These characters are sharp and intelligent beings who manage to avoid caricatures by presenting deeply self-aware and profound stories. I love the blending in of humor that Henry (Sam Shankman) weaves in throughout his performance combining his internet addiction with his LGBTQ identification to which many in the audience likely relate. Henry is sweet and kind with reactions that inject lovely and welcomed humor.

The ensemble excels through the multitude of intricate choral passages. They are up to a very challenging task requiring perfect harmonies.  This is a tough score to sing for sure and requires of all performers not just vocal strength and control, but beautiful emotional rhythm and pace. There are times I felt like I was watching less a play being performed and more a choir-like collective confession.

To be clear there are no weak links here. Each cast member contributes to the production’s requirement for balance, shifting seamlessly between vulnerability, connection and eerie detachment. This level of cohesion is essential—and in Raven’s production, it is fully realized.

Ultimately, it’s fair to say Octet at Raven Theatre as less about internet addiction as a substantive topic and more about a human need to be seen, recognized and accepted.  You will not walk out of the theater with any easy answers, but arguably, you will get something more valuable: a space to sit with your discomfort, guided by a cast that understands and more importantly respects exactly how fragile that space can be.

Octet runs for about 95 minutes, thru June 7^th with tickets available at: www.RavenTheatre.com

Performances as follows:

Thursdays:7:30pm

Fridays:7:30pm

Saturdays:7:30pm

Sundays:3:00pm

Price: $20?$45

Show Type: Drama

Box Office: 773-338-2177

Running Time: 1hr, 35mins

www.raventheatre.com

The Raven Theatre is located at 6157 N. Clark Street ( at Granville)

limited lot parking. Street parking

Clark Street bus stops at Granville

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