Chicago Tribune from Chicago, Illinois • 265

Chicago Tribune, Sunday, February 2, 1992 Section 13 Page 5 Art Steppenwolf play examines 'the event of the century' 'X CCu 'c i. CC t': CCC VCC A rAc --CC Ac A A I 'j A. CAA -4. ft -4 By Clifford Terry Entertainment writer About two years ago Dusty Hughes, author of "A Slip of the Tongue," read an obituary about a writer who had died in Slovakia. "He had been a dissident since World War II," Hughes said in a recent phone interview from his home in London.

"Like the character in my play, had been sent various girls by the authorities to find out what was going on, and more often than not had fallen in love with them. The play is, in fact, nor. about this particular person because I never pursued the research any further than that. But it was the germ of the idea, and the play is kind of a mythical version of that. "I've deliberately used Russian, Hungarian, German, Polish and Czcchoslovakian names because I didn't want people to feel it was a political play about a specific country or a specific person.

I mean, this is not Czechoslovakia president Haclav Havel. Not at all. I mean, the play is not an attempt to claim that writers are wonderful people who become presidents. Quite the reverse, in fact. Dominic Tantra, the leading character, is a man of courage and integrity and many human weaknesses.

That's really the point. The idea is to create some kind of a moral balance or dialogue that keeps the play alive. "Actually, Tantra could never be Havel, because he's too much of an ass," adds John Malkovich, the actor who portrays him. "You know, my personal theory is that dissidents are just that dissidents. It doesn't matter what the situation is; it's more psychological than political.

It's a personal theory, which certainly can be wrong, because most of mine are, or I'd be a nuclear physicist, let's face it The politics, to me, is a partially convenient excuse. Anyway, Tantra in someone; slightly outside of our sense of morality. He's a flawed man." The play was commissioned by director Simon Stokes. Hughes' former colleague at London's Bush Theatre. "Dusty writes very intelligent, but accessible plays," says Stokes, now director of development at the Turnstyle Group, a London theatrical production company.

"He would hate me for saying this, but a similar writer might be someone like Michael Fraync. "I didn't know John, but I knew his work, and I sent him the script. The character needs a big performance-he's on stage all the time and it needs an actor with both energy and the ability to play comedy as well as tragedy. John is a great actor, whose strength actually is analytical. I know he dismisses it because it's not his movie and Steppenwolf image, but he's very intelligent.

He just doesn't out wildly and hope something will happen. What's very good about him is that he sees a moment and will take it far enough and will explore beyond a kind of polite imitation. A lot of actors limit themselves by being polite on the stage." The four university students with whom Tantra becomes involved are played by Clotildc Courau of France, Ingeborga Dapkunaite of Lithuania, Lizzy Mclnnemy of England and Chicago's Kara Zediker (a graduate of Columbia College whose credits include "The Chicago Conspiracy Trial" and Steppenwolfs "A Summer "It's a play in part about what is, in many ways, probably the biggest international event of the century," says Stokes. "We thought, if we're going to be very, very bold, let's have an international company. We'll take it to the West End next, but I'd like to play it elsewhere Prague or whatever.

I'd worked with Lizzy twice and brought Clotilde and Ingeborga to London to audition and then came here and looked in New York and LA. as well as Chicago. "Although Dominic is in that European mode of the anti-hero, this play, in fact, is as much about England or America as it is about Eastern Europe. It's about the nature of being a writer and the way in which people conveniently separate out their intellectual responsibilities from, say, their sexual responsibilities. "This will be a co-production between Steppenwolf and the Turnstyle Group.

After John decided to play the role, he suggested we open it here. That made better sense because of Steppenwolfs reputation and the fact that there's a more sophisticated audience than at some regional theater in England, where they probably wouldn't go for this play. "I've been told you get a very direct, tough response here. I like that. Because you can see what's true in a production and what isn't, and you can adjust to it One of the problems I have with New York theater and it's becoming so in London is that audiences come to sec 'productions' and can be very over-sycophantic, over-polite.

The result is that you never really know what you're communicating. Whereas in Chicago, people have been telling mc, if it's good they'll like it, and if it isn't, they won't. Which seems to me fair enough." A taw- 4 A Malkovich's filrriLi include (clockwise from top): "Of Mice and Men" (which ia scheduled to be released later this year), "Places in the Heart" (1984), "Making Mr. Right" (1987), "Empire of the Sun" (1987) and "The Sheltering Sky" (1990). shrug is no bin deal.

"I can't think of millions of situations where that has been a horrible sort of cross to bear. Generally, if anything, it's clearly a benefit. We did a play at Stcppcnwolf once called 'Sandbar and i character had a line saying, 'You're the nicest audience I've performed in front or' in a long time. I mean, you don't kick mc in the Well, that's son of what I'd say about In my experience, at least. I mean, I'm not Ikatk.

It's all a little bit time-consumin sometimes, and maybe not ai private as one would wish, but it's line. "The only unfortunate thinp about it is that you can slightly lose your ability to sit in a rooom or walk in a strange city and observe. The loss of anonymity is a loss. But I really don't have trouble keeping it all in perspective. I'm just an actor." "I've been with John in restaurants, and people will come up," says Simon Stokes, a Londoner directing "A Slip of the Tongue." "Actually, it's very nice.

Usually, they'll say. 'Welcome back to Chicago, so good to sec you here' rather than rushing up and asking for his autograph. The sensation I gc. is that he's regarded as one of of a supercilious horse is an extremely unlikely leading man. Out he has triumphed through the force of his dour personality." Such comments don't, phase him one way or another, hu says, because he doesn't read reviews.

"Of course, I'm hypocrite like anyone else. I read the gossip columns rather religiously, but, like most people, See Malkovich, pg. 20 them. Like. 'We understand, of course, that you have a big international career, but givo us a shot at it from to Many movie reviewers, while praisin Malkovich, feel compelled to poii on, he is not a conventional screen "hunk." Praising performance in Object of Beauty," New York magazine's David Dcnby wrote: "Malkovich hig'i forehead, pursed lips, the gcncr.il aspect tvff-y wt nn a mcmnTijHii.