A Haunting Tale Unfolds at Colonial Chorus Players with “The Pillowman”

The first duty of a storyteller is to tell a story. 

Colonial Chorus Players (CCP) presents “The Pillowman,” a play by Martin McDonagh. Katurian, a writer, is interrogated by two brutal detectives after a series of gruesome child murders eerily mirrors his short stories. As he desperately tries to protect his brother with an intellectual disability and preserve his written work, the truth behind the horrific crimes unfolds. 

“The Pillowman” is a dark and dramatic play. I sat on-edge and listened intently to every scene at Colonial Chorus Players’ final dress rehearsal. CCP’s production is chilling and intense, with astounding acting, visuals, and storytelling. The show asks about storytelling and creative freedom. Where does it draw the line between fantasy and reality?

I am amazed by the high level of talent. The acting is tremendous from everyone. They truly become their characters and embrace the unsettling material's nature, while also balancing dark humor. The actors memorized incredible amounts of dialogue.

AJ Lyman plays Katurian, a writer. Katurian is a complex character who struggles between innocence and the revelations of his dark past. Lyman dug deep into this character’s wounded psyche, bringing both vulnerability and hidden darkness. Lyman is an excellent speaker, delivering a captivating story in one scene.

Michal, played by Ryan March, is Katurian’s brother, whose childhood trauma has affected him in ways not yet known. The brother dynamic is performed very well by Lyman and March. Katurian and Michal’s relationship is endearing, but it’s sad given what they endured in their childhoods. 

Casey Preston (Tupolski) and Mark Damon (Ariel) have their “Good Cop/Bad Cop” dynamic down pat. While Preston creates a quiet, intimidating demeanor, Damon is fierce, spatting in witnesses' faces and hurling them against tables. They play with dark humor, but they know how to coerce others.

Nick Bennett-Zendzian, Addie Pates, and Mia Imparato have important ensemble roles, playing minor characters through flashbacks and also puppeteering.  

No show ever goes on its feet alone without a technical crew. CCP’s technical elements enhance “The Pillowman,” from visuals to lighting and set design.

The storytelling visuals are compelling. Shannon Fay and Dean Hernandez design creative puppets and shadow puppets for storytelling sequences. I sat forward in my seat as puppeteers mirrored Katurian’s story against a white sheet. It’s mesmerizing.

The interrogation set is an important part of the production’s bleak tone. Tom Plano’s set design immediately creates a sense of confinement. The room traps not only the characters, but the audience too in its dark clutches. 

The violence in “The Pillowman” is well-choreographed by Richie DeJesus, who carefully maneuvers each fight scene so the actors are comfortable. The fight scenes are impressive to watch. The show is violent, with characters being thrown to the floor or lifted off their feet. 

Corey Cadigan directs “The Pillowman” with precision. He creates a dark, claustrophobic world that keeps the audience constantly uneasy. With all the manic layers to it, Cadigan keeps the production carefully grounded, as he allows the material’s darkness to build gradually, rather than relying on shock. 

The play asks whether a story belongs solely to the person who creates it or whether it can take on a life of its own if shared. Storytelling is important, though we should be careful of the stories we tell. You never know how they’ll impact the world. 

“The Pillowman” is not suitable for all audiences, containing violence, strong language, and dark themes, depicting child abuse, murder, and torture. There are moments of dark humor.

“The Pillowman” is an impressive and well-acted production. Catch a show at Colonial Chorus Players Friday, Oct. 2, through Sunday, Oct. 11. Tickets are available online.