Tiptoeing Through Delicate Illusions
Review of The Suit at Seattle Repertory Theatre by Kally Patz
Painted in primary reds, yellows, greens, and blues, the dozen chairs that make up the majority of The Suit’s set are unrealistically simple, impossibly bright. They’re the sort of chairs a child would draw for stick figures in a two-dimensional house, shallow and cheery.
The chairs are fitting for the home of Philomen (Ivanno Jeremiah) and his wife, Matilda (Nonhlanhla Khewsa). The two tiptoe around the delicate illusion they’ve weaved together. Playing house, they eat from an invisible tray, bathe in an invisible shower, and turn an invisible faucet. They pretend not to notice that two chairs make their bed, that a bare clothing rack serves as a wall. Philomen narrates his life in Sophiatown as if reading from a storybook approaching its happily-ever-after, as if he’s beyond the trials of South Africa’s apartheid and marriage’s pitfalls.













