We learn of his father’s gambling and drinking addiction early in the play. This led his father's unexpected need to pick up and leave the family home. It is also when we learn of Bradley’s inner demons – a voice that constantly haunts him, reminding of his failures. He is only eight in this moment of darkness and fear. The voice of his demons chase him and taunt him. He believes he is a burden on his family, and deserves to be left alone. Yew creates this effect through a microphone that projects Bradley’s voice throughout the space--creating an image of Bradley and his inner demons being the same. The voice comes back at multiple points throughout the piece. Each time we see Bradley put himself down. We see how this impacts his identity in the moment. We are overcome with heartbreak.
Clever Design
The production design is simple, allowing the majority of the focus to fall on Bradley and his performance. Yew personally designed the set. It consists of little more than a chair and a projection screen that acts as the floor. Whenever Bradley moves to a different location or key moment in the story, he brings the chair along with him. The floor often changes to a new projection beneath. This collaboration between Yew and Projections Designer Stephan Mazurek, in this writer's view, creates a useful convention that helps us move with Bradley, from moment to moment.
Lauren Katz is a freelance director and dramaturge, and new to the Chicago Theatre Scene. She recently moved from Washington DC, where she worked with Mosaic Theater Company of DC in Company Management, as well as directed around town with various theaters.