Playwright: Mary Zimmerman. At: Lookingglass Theatre at the Water Works, 821 N. Michigan. Phone: 312-337-0665; $30-$60. Runs through: July 12
The tales of the Arabian Nights are said to encompass a thousand and one installments, some of which have appeared in children's books and others, banned as too obscene for any but scholarly sensibilities. So it should come as no surprise that the 2009 version of Mary Zimmerman's theatrical anthology should be substantially different in composition than that premiering at the Goodman Theatre in 1992. ( The production currently playing at the Water Works has been considerably edited"the running time now barely exceeds two hours. )
The framing device is still centered on the Sultan Shahryar, a ruler so incensed by his first wife's betrayal that he executes all his succeeding brides following their wedding night, and the newest candidate, Scheherezade, who cures his deadly obsession by telling him stories, each one left unfinished in order to postpone her death for another day. Her selection begins with ribald tales, featuring unfaithful spouses not unlike those provoking her husband's ire, until he dissolves into laughter at a bawdy anecdote involving prolonged flatulence ( moral lessons sometimes employ coarse elements, explains our storyteller, but only "gross, narrow minds" will be offended ) . Later, in more somber tone, her themes illustrate to her fascinated auditor the error of his cruel ways, even to evoking his own unhappy image in a lonely penitent's lament"a confrontation guaranteeing the enlightened Sultan's atonement and subsequent humanity toward his subjects.
Of course, the play doesn't recount the entire canon. One episode consolidates several stories into a montage, the location of each audience member's seat determining which one they hear. Another tale"that of "The Wonderful Bag""is improvised each performance by different company members. And lest our senses become dulled by verbal overload of stories-within-stories, an endlessly-inventive technical team keeps the spectacle pouring forth. ( The percussion-driven opening scene, with its juggled cushions and acrobatic "flying carpet" stunt, gets us off to a vigorous start, though the set dressing alone comprises a veritable gallery of sensual ornamentation. )
The cast of Lookingglass regulars, along with several auspicious newcomers, deliver performances encapsulating the essence of ensemble playing"not an inch of the stage picture is ever allowed to lapse into stasis, wherever the principal focus may lie. Lucky Chicago playgoers may recall many of this company's projects in their fledgling state, but our reward with this revival is to revisit the creativity that earned it international acclaim, honed and polished until it shines like Aladdin's magical lamp.