Lifeline Theatre’s ‘A Wrinkle in Time’ Stage Adaptation Review

Madeleine L’Engle’s novel, “A Wrinkle in Time,” faced skepticism from publishers due to its unique mix of science fiction and fantasy, combined with intense themes. Despite numerous rejections, it was published in 1962 and won the Newbery Medal, remaining in print ever since. The stage adaptation by James Sie at Lifeline Theatre successfully captures the whimsical essence of the groundbreaking book, albeit with some weaker elements carried over from the original work.

Under the direction of Heather Currie, Manali Sunkara makes her debut at Lifeline as Meg Murray, the 13-year-old protagonist dealing with challenges at school and home. Meg, the daughter of two scientists, struggles with the mundane math curriculum due to her intelligence and impatience. She fiercely protects her younger brother, Charles Wallace Murray, played by Rohan Link Francisco. Meg’s father vanished a year ago during a secretive government mission, adding to her distress.

The adventure kicks off after an enigmatic encounter one stormy evening, as Meg, Charles Wallace, and their friend Calvin, portrayed by Sam Hook, embark on a time-and-space journey to rescue her father and possibly save the planet. They are guided by three mystical beings named Whatsit, Who, and Which, played by Amanda Link, Cami Stuckert, and Jordan Gleaves, respectively.

The choice to cast two adults as teenagers, alongside a child actor for Charles Wallace, creates a slight mismatch. Francisco’s portrayal of the precocious Charles Wallace is a crowd-favorite, showcasing impressive emotional range as his character evolves. Sunkara occasionally struggles with Meg’s awkwardness, but she shares endearing moments with Hook as misfit Calvin. Other cast members assume multiple roles throughout the play, with Link transitioning from quirky Whatsit to a sinister entity on Camazotz. Cruz showcases two diverse maternal figures, contrasting Meg’s warm and strong mother with a fearful Camazotzian woman under a tyrannical regime. Cruz also briefly, yet charmingly portrays the Happy Medium, characterized by optimism and foresight.

Lifeline’s production team crafts an enchanting setting for the children’s adventures. Lindsay Mummert’s set, inspired by Ellen Raskin’s first-edition cover, integrates circles on various surfaces, infused with mauve and gold elements. Props designer Sam Lancaster continues this circular theme with key orbs during pivotal scenes. The ethereal atmosphere is heightened by Joe Griffin’s sound design and Sarah Riffle’s lighting. Jazmin Aurora Medina’s costumes reflect the unique traits and menace of the creatures encountered by the children’s travels.

Having recently read the book, I was eager to see Lifeline’s portrayal of the Camazotz scenes. The Orwellian and Cold War influences are pronounced on this planet, where a hive-mind entity enforces uniformity through surveillance and strict penalties. Currie and her team cleverly use puppets and rhythmic dialogue to depict the citizens’ robotic lives, although the adaptation opts for abstract interpretations of the novel’s haunting visuals.

Sie’s script follows the source material closely, retaining its advantages and defects. The second act starts with intrigue but becomes sluggish before resolving swiftly and neatly. In both versions, the notion of “love conquers all” seems simplistic given the intense battle between good and evil. Nonetheless, the fable imparts ageless wisdom: feeling fear in the face of evil is human, yet action is vital, and traits viewed as flaws can lead to triumph. Ultimately, “A Wrinkle in Time” explores themes of family, friendship, and self-acceptance, embracing its dark and peculiar aspects.

Emily McClanathan provides a critique. The play, rated three stars, runs through October 18 at Lifeline Theatre, located at 6912 N. Glenwood Ave. The performance lasts 2 hours and tickets are available for $47 at lifelinetheatre.com or by calling 773-761-4477.