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Chicago Tribune
16-06-2025
- Entertainment
- Chicago Tribune
Review: ‘You Will Get Sick' at Steppenwolf is a slow reveal that's worth the wait
In a graduation speech I heard this May, the physician-writer Abraham Verghese talked about his experience as a small-town doctor during the AIDS era and how he found, to his amazement, that rural emergency rooms had filled up with AIDS patients even as everyone assumed the crisis was restricted to large cities. But many of these mostly young gay men had chosen, Verghese said, to come home from New York or Chicago to the likes of rural Tennessee to die. And for the most part, he observed in another stereotype-busting comment, he found they were treated by their families with compassion and love. The word AIDS is not mentioned in 'You Will Get Sick,' a rather unusual play by Noah Diaz that opened Sunday night at the Steppenwolf Theatre Company with Amy Morton (making a long-overdue return to Steppenwolf) and Namir Smallwood in the two leading roles. All we know is that the central character, known only in the script as #1, has been given a diagnosis of imminent death from an affliction that is never described. But Verghese's speech did come floating back into my head, because this is a play about how we handle not just death itself, but the period of our lives in chronological proximity to our inevitable exit. To understand the incontrovertible truth behind show's title — not exactly a box office seduction — you have to put the emphasis on the . Moreover, there are powerful themes here of working towards acceptance, of finding the courage to tell loved ones you are leaving. Diaz draws imagery from, believe it or not, 'The Wizard of Oz,' but Dorothy takes a long time to reveal herself, and nothing is solved by any clicking of heels. Here is the initial setup. Smallwood's sick character, #1, is having such difficulty communicating about his fatal illness that he chooses to hire someone to do the job for him. He puts out an advertisement to that effect and gets an answer from a woman, Morton's #2, a matter-of-fact opportunist who negotiates hard for piecemeal rates as she sets about her weird job, some of which involves her client's self-involved sister (Sadieh Rifai). Amy Morton is back on stage in 'You Will Get Sick' at Steppenwolf Theatre. What took her so long?That all might sound straightforward but Diaz freights the play with a much heavier symbolic load, including an amplifed, off-stage narrator who voices the things that #1 cannot bring himself to say, stepping pretty much on top of his lines. That takes a good while to understand and for it to become in any way comfortable as a theatrical experience. Meanwhile, #2 has her own eccentricities; she's a sometime actor who turns this truly bizarre assignment into fodder for her actor's studio and perpetual auditioning for her local community theater production. Other people show up (the cast also includes Cliff Chamberlain and Jordan Arredondo), but the less you know about them in advance, the better. Both Morton and Smallwood are superb here, not least because they are two Chicago actors of different generations who share an obsessive interest in finding the humanity in unusual people and then listening not just to what their character is saying to them, but also to others with whom they share the stage. They're both a real pleasure to watch. I think the play's symbols and metaphors get a bit too dense and oblique in places and this is one of those shows (it recalls the work of Noah Haidle) where you need a lot of patience before it becomes clear what the playwright wants to achieve. It's the kind of show that actors easily understand, being so suffused with the iconography of the theater, but it occasionally crosses the line of self-indulgence; I suspect some subset of the Steppenwolf audience might be a bit too baffled to care. Although sometimes moving, director Audrey Francis' production could have used some sharper edges and more of a forward thrust, especially in the studio scenes. But if you hang in there for just 85 minutes, not only are there twin beautifully crafted performances for you to enjoy but the surprise-filled last few minutes really pays off, not just in the writing but in set designer Andrew Boyce's visual landscape Certainly, you'll leave the theater thinking about what Diaz clearly wants his audience to think about. More specifically, it's hard not to watch this show and think not just about sickness but about how it is described and communicated. By a society at large. By oneself. After all, most of us won't be able to get home without having to tell someone where we are going. Perhaps the hardest cut of all. Chris Jones is a Tribune critic. cjones5@ Review: 'You Will Get Sick' (3.5 stars) When: Through July 20 Where: Steppenwolf Theatre, 1650 N. Halsted St. Running time: 1 hour, 25 minutes Tickets: $20-$136.50 at 312-335-1650 and
Chicago Tribune
13-06-2025
- Entertainment
- Chicago Tribune
Amy Morton is back on stage in ‘You Will Get Sick' at Steppenwolf Theatre. What took her so long?
Few actors in Chicago theater history command the respect afforded to Amy Morton. Her history goes back to the long-defunct Remains Theatre but is dominated by her decades of work with the Steppenwolf Theatre Company, including playing Nurse Ratched in 2000 in Chicago and then on Broadway in 'One Flew Over the Cuckoo's Nest' opposite Gary Sinise; the lead role of Barbara in Tracy Letts' 'August: Osage County,' which played from 2007 to 2009 in Chicago, London, Sydney and on Broadway; and a stunning performances as Martha in a revival of Edward Albee's 'Who's Afraid of Virginia Woolf?' in Chicago and on Broadway between 2010 and 2013. But for more than a decade, Morton, 66, has mostly been found behind a desk on the long-running Dick Wolf TV show 'Chicago P.D.,' playing desk sergeant Trudy Platt. Morton spoke this week at the Steppenwolf Theatre, where she returns to the stage in 'You Will Get Sick' by Noah Diaz, a play about a young man and his caretaker, opening Sunday night in a production directed by Audrey Francis. Our conversation has been edited for clarity and length. Q: How long has it been? 'Hir' was the last one. I don't do years very well but it has been at least eight years. Q: Why has it taken so long to return? Being on the TV show, our hiatus allows only one little space of time to do a play. So it has to be something I really want to do. I read this and was very intrigued by it, and with Audrey directing, it was a no-brainer. Q: You've been on 'Chicago P.D.' for 11 years. But a lot of people reading this story, with all due respect, perhaps don't watch that show. I understand. Q: So where does that fit in the Amy Morton career arc at this point? It came along at such a fortuitous moment. I had done 'August' and 'Virginia Woolf' back to back. The whole odyssey started in 2007 and I wasn't finished until 2014. Both of the characters I was playing walked onto the stage in bad place and it just got worse. For three acts. And by the end of 'Virginia Woolf,' I said, I can't go back on stage. Living that. What it does to the psyche and the soul. I just couldn't do it anymore. So I did not know what I was going to do and then I got this job. I was, and still am, so incredibly grateful that this happened. There was no way I could have gone back on stage. It was just broken. It was just broken for a while. Q: The break came from doing two such devastating plays? Yes. Back to back. It was too much. Q: But if someone had said after that, 'Play this beautifully affirming character in this beautifully affirming play'? I couldn't do eight shows a week. It all felt too brutal. My body, my everything was just done for a while. So getting this job was the best thing that could have happened to me. I love the crew and the cast. I have had a job for this long in my home town that has allowed me not to worry about money. I feel like the luckiest person in the world and I can understand why anyone would hate me. Q: But you're a remarkable artist. I understand you needed a break. But has Sgt. Platt been able to sustain your artistic soul? Not necessarily. But I've been able to do some movies on the side and be a guest artist on 'The Bear.' But also, understand that I'm older now. I don't have the same ambition. I really don't. I remember in my younger days when actors would talk about retiring, I'd say that's insane, actors don't retire. But I don't believe that anymore. I could see myself retiring. And I really don't need to constantly be pursuing a different character all the time. And the great thing for me is that this character on the TV show from the beginning has been very interesting to play. Q: How so? For the first four years, she was such a smartass, it was so much fun. You couldn't tell if she was evil or not and then the show got more serious and she went into a more serious vein and you see a bit less of me. Which is fine. Remember I am working with people who are appearing in every episode, , running after people with a . I am hardly ever outside. I wear the same costume. It's manna from heaven. When other actors are asked which role they wished they could play, they all want to be Platt. I am loath to use the words 'mama bear,' because it is so misogynistic, but she holds the front desk together and is constantly bolstering the team and has inside info into the lead characters. Q: And you like the writing? Yes. I've never had to do anything embarrassing. A lot of people on TV have to do embarrassing things. Not me. Q: So let's get to this play. Why come back with this? Firstly, it's really funny. That was the first thing that peaked my interest. Q: Because you are known for that. I'm not going to be headed back into 'Virginia Woolf' land anytime soon. Also, it's alarmingly moving and very beautiful and I love working with Audrey. She's a really fine director and I was excited to be able to do this with her. She was once was a student of mine and I love that she now is my boss. Q: I have to go back to what you said earlier. What if someone made the argument that an actor should be able to leave those characters at the office? Is there something in you that did not permit you to do that? Your body doesn't know you are lying. So your entire body becomes a giant carpal tunnel. Yes, I could leave it the office, but you hit two in the afternoon or so and your entire being starts to prepare yourself, even without your knowing. To do this job well, in my opinion, there are places that you need to go with those characters that are not fun. It doesn't mean that I stayed in them all night. But those runs were so (expletive) long and plays have a shelf life for a reason.
