Drury Lane Oak Brook Cracks "The Da Vinci Code" in Spectacular New Stage Adaptation

Dan Brown’s The Da Vinci Code has been the subject of controversy ever since the bestseller's initial publication in 2003. It has received criticism for its commentary on religious faith and going too far with the liberties it takes in its depiction of Christianity (most notably in its treatment of Jesus’ mortality and divinity). However, what is not contentious is that it is a well-spun, enthralling tale of intrigue that has  translated into an impressive play now onstage at Drury Lane Theater. It is undebatable that the Oak Brook staple of the arts community not only esteems but elevates the material and all its symbolism with its interpretation of the piece. It relates the gripping quest to solve not only the mystery of a murder but one’s own truth in a way that remains loyal to much of the author’s original text whilst delivering new discoveries in this exciting live translation. With an exceptional cast and creative team and awe-inspiring technical design that blurs the lines between the systematic and supernatural, the work's aim of forcing contemplation of the confounding intersection of our human and spiritual nature is achieved. There is no crisis of faith when it comes to whether or not Drury Lane’s exegesis of this adventure of uncovering sacred secrets regarding our existence, and what we honestly contend, is outstanding. 

            The keystone of this show is the inspired direction by Elizabeth Margolius and her assistant Daren Leonard. It appears their vision for the show took Leonardo Da Vinci’s wisdom that “Simplicity is the ultimate sophistication" to heart. In focusing on the complexity of commonality and paradox of pure and simple truth (especially when it comes to belief), the imagining by these two adroit directors functions as a cryptex that deciphers the entire piece. With such insightful guidance, the rest of the production’s elements fall into place just like a straightforward yet still astounding Fibonacci numerical sequence. This brings to mention that superior technical aspects that rival Broadway and the West End’s best allows this show to be an absolute marvel. Scott Penner’s scenic design, with its striking utilization of turntable and scrims, is most effective and serves the narrative by providing for pivotal moments of inertia and emphasizing the dichotomy of scientific and religious wonder. The lighting designed by Lee Fiskness utilizes chiaroscuro like a Renaissance artist in depicting the brilliance and penumbra that contours our faith and us all. Moreover, the mesmerizing projections envisioned by Anthony Churchill and Mike Tutaj must be noted as a standout part of this show’s technical design. Besides being clever and visually stunning, Tutaj and Churchill’s projections are practical, reinforce the show’s central themes and allow for immersion in this thriller. Nicole Boylan’s costuming in its subtle refinement and Joshua Schmidt’s mystical underscoring of the piece are additionally spectacular. This Da Vinci Code imagination deeply concerned with all of the plain intricacy, all of the multifacetedness of belief, coheres all the components of the play in a meaningful adaptation.

All things considered, the most extraordinary aspect of this play remains the adept ensemble. Jeff Parker anchors the show phenomenally as protagonist Professor Robert Langdon and accomplishes making this well-known character his own. Parker’s perfectly quirky, jocular and earnest Langdon overstands the assignment and will have you considering applying to Harvard just to take his symbology seminar. Vaneh Assadourian is majestic in her portrayal of the show’s co-lead cryptologist Sophie Neveu, realizing this character in all her unique fleur-de-lis-esque delicate strength, pure courage and righteousness. Anthony Irons and Leslie Ann Sheppard propel the plot and are captivating as the French police officers Bezu Fache and Collet, respectively. Shane Kenyon’s depiction of the zealous antagonist Silas, as dark as the con of man yet sympathetic, is terrifying in the best way. John Drea is a true talent with how he captures so markedly and shifts so seamlessly between the very distinct roles of Remy and Philip. Bradley Armacost’s embodiment of historian Sir Leigh Teabing, as rich and robust as a proper Earl Gray cuppa in a posh London tea room, should be the subject of scholarship. Jennifer Cudahy is dynamic as she pulls triple duty as Vernet, Docent and Church Volunteer, and Janice O’Neill’s grounded and vehement Sister Sandrine / Marie will have you thoroughly convinced of her divine feminine. Ray Frewen paints Louvre curator Jacques Sauniere in all his grandfatherly fervor and intricacy as masterfully as the play’s namesake himself. The outstanding character development and accent work (much credit to dialect designer Eva Breneman) on behalf of the whole company must be commended as well. It is abundantly clear that this incredible ensemble is committed to doing this epic justice and treating it tenderly. The nuanced performances of the world-class artists breathing life into this story is the most magical part of and puzzle piece that unlocks this production. 

It is purported in this tale that science and religion are opposing vernaculars attempting to express the same thing. This show does the best job of depicting that and attempting to overcome that language barrier out of any adaptation of this story I have witnessed. It also clearly conveys the essential idea that no matter what, pragmatic or preternatural, empirical or empyrean– it all hinges on belief. I believe Drury Lane’s newest stage offering is one of the finest to be found in Chicagoland right now and achieves the performing arts institution’s mission of allowing audiences to “escape the ordinary, be moved, be inspired, become part of the story.” I believe that this play will challenge you to open your mind and confront hard truths about yourself and your understanding in ways that may be disconcerting. I believe this show is an excellent iteration of this mystery that has captured so many for so long – it is provocative, but entirely compelling and a theatrical experience to be had. What I believe is that, in presenting a work of art that boldly faces us with trusting in the enigma and reconciling the innate divine mystery that shrouds us, that Drury Lane unequivocally cracks The Da Vinci Code. But as Robert Langdon so eloquently observes, “The only thing that matters is what you believe.” Believe what you will – but believe. 

 

*The Da Vinci Code has a run time of 2 hours and 20 minutes with a 20-minute intermission and is in performance through June 1^st at Drury Lane Oak Brook. The production is recommended for ages 13 and up as it does utilize haze, simulated violence and gunshots. Tickets for The Da Vinci Code can be purchased online at www.drurylanetheatre.com or through the Box Office (which you can reach by calling (630) 530-0111 or emailing boxoffice@drurylane.com).