THE LOOP — We all have a favorite treat during theater intermissions, but what's one to do with a play that calls for three — count 'em, three! — trips to the lobby?
The Goodman Theatre's "2666," its new stage version of Roberto Bolano's swirling hurricane-size maelstrom of a novel, runs five and a half hours, including three intermissions.
That requires a strategy.
Cast member Juan Francisco Villa, who plays multiple roles, most prominently detective Juan de Dios Martinez, has volunteered the following schedule:
- 1st intermission: coffee and cookie
- 2nd intermission: water
- 3rd intermission ("and only then"): wine/whiskey/alcohol of choice
Obviously, Villa wants to keep the audience alert and isn't concerned about the grumbling of critics — or stomachs.
So, implicit in that approach, as in any marathon, is to load up on carbs beforehand. Yet that's not an option for everyone, given the play's 6:30 p.m. start time at the Goodman, 170 N. Dearborn St., which even then lets theatergoers out just after midnight.
Likewise, brunch is a good idea before the Sunday matinees at 1 p.m.
Yet, either way, there are options for sustenance during the intermissions. The usual lobby cocktails, cookies and Swedish fish are augmented at the Goodman with hummus packs and cross-sliced pinwheels of sandwich wraps. Coffee refills are free.
While others are taking cigarette breaks, meanwhile, it's possible to dash across the street to the McDonald's, although given the pungent odor of fast food it's probably best to scarf it down there rather than trying to sneak it back in.
Even better, however, is to stop on the way in at the start of the evening at Petterino's, the corner restaurant with access to the theater. It's possible to book a nosh of an appetizer and a quick drink to have it ready at the proper time.
"If somebody wanted to do that, absolutely," said Adam Sedelmaier, the restaurant's general manager.
Bruschetta, salads, calamari, crab cakes and a shrimp cocktail are all on the dinner menu and can be eaten in a rush.
Timing is key. According to the Goodman, Part One of the play runs an hour and 15 minutes and leads to a 20-minute intermission. Parts Two and Three are combined over the next hour and 10 minutes, followed by a 15-minute intermission. Part Four is an hour and five minutes, followed by a 20-minute intermission. And then comes the finale.
Just be advised that that third intermission comes after a long list of murder victims and their causes of death is recited by actors in the play — not exactly the stuff to build up an appetite for the quick inhaling of food.
The play is based on Bolano's novel, concerning a search for a reclusive writer, loosely connected (or perhaps not so loosely) with the rampant deaths of women in Santa Teresa, Mexico, modeled after Ciudad Juarez. First published in 2003, shortly after Bolano's death at 53, and translated into English in 2008, it has a small but devoted following, including Goodman Artistic Director Robert Falls, who co-adapted and directs the production. It was funded as a pet project by $250 million lottery winner Roy Cockrum.
Although even the Goodman wasn't sure about the audience for a five-hour-plus play, its run has already been extended to March 20.
