“The Pillowman” is Martin McDonagh and Long Beach Playhouse at their best

Back in the aughts, when every single year Long Beach Playhouse could be counted on to produce something by Neil Simon or Noel Coward — if not both — the idea of their staging anything written by Martin McDonagh would have been ludicrous. 

But times change. I’ve now seen three McDonagh plays at the Playhouse, two in the last three seasons. And while the first two were good, their current offering, The Pillowman, is the best of the bunch on every level.

Katurian (Brian Brennan) doesn’t know why he’s been arrested, but from a glimpse of the notes of his interrogators (Paul Vroom and Patrick Peterson) apparently it has something to do with his macabre short stories. Turns out he’s right, though not for the reasons one would tend to expect in a totalitarian state. Instead, it seems his mentally-challenged brother (Jeff Cheezum) may have taken those stories a bit too much to heart.

Those whose first encounter McDonagh qua screenwriter (e.g., The Banshees of Inisherin (2022), Three Billboard Outside of Ebbing, Missouri (2017)) may not be particularly impressed when they meet the younger playwright (The Cripple of Inishmaan (1996), The Lieutenant of Inishmore (2001), etc.). But no matter how you come to it, The Pillowman (2003) doesn’t disappoint. 

Although a great script doesn’t guarantee a great show, Long Beach Playhouse veteran Carl daSilva makes sure that this one does. For starters, he’s assembled a solid cast from top to bottom, and together they’ve done the work to ensure that all the sharp beats and shifts typical of McDonagh — a rhythmic writer if ever there was one — come across to the audience. In the process they nail McDonagh’s classic blending of humor, darkness, and pathos. Paul Vroom is especially effective, flowing so naturally you can easily miss how stylized his lines are. And Brian Brennan does yeoman’s work as Katurian, moving seamlessly between his dialog and several turns as storyteller-within-a-story.

Part of what’s so impressive about McDonagh’s The Pillowman script is that every one of Katurian’s stories is genuinely good in its own right. Part of what’s so impressive about Long Beach Playhouse’s production is how they handle each one of these. daSilva’s choice to employ a stage-within-a-stage is delightful, and part of the playfulness with which Katurian’s tales are brought to life (including the performances of Peggy Free and especially Patrick McLoy) comes from the mise en scène. The shadow-puppetry, the scrim work, the lighting and sound and Christina Bayer & Hunter D’Souza’s slightly cartoonish set design — every production element meshes and elevates the whole. 

The sole shortcoming is the fight choreography. Yeah, yeah, suspension of disbelief, we don’t want to get the actors hurt, yadda yadda. But a little rough-and-tumble never killed anybody. The only truly inexcusable moment is a smothering-by-pillow that’s performed at the head of the bed, with the victim’s hands and body completely free to fight, rather than doing the obvious: straddle the victim. It would behoove daSilva to make this simple change early in the run so later audiences can be spared an easily avoidable moment of lameness.

But you’re doing something right — a lot right — when that’s the worst thing I can say. This is a wonderful show. See it.

The Pillowman at Long Beach Playhouse

Times: Fri–Sat 8:00 p.m., Sun 2:00 p.m.
The show runs through September 28.
Cost: $20 to $30
Details: (562) 494-1014; LBplayhouse.org 
Venue: Long Beach Playhouse, 5021 E. Anaheim St., Long Beach