Michael Mahler and Dara Cameron Photo by Jenn Udoni

This is not the Marvel multiverse, though it is related in concept. Quantum physics holds that every possibility is held in "superposition" until it is acted upon–think Schrödinger's box–and multiversal theory says that each decision we make spawns an entire new universe leading from it. Anyone who has ever seen any of the Marvel movies set in the multiverse can picture what that can mean but, taken at a personal level, it throws the future "wide open" to any (and all) possibility.

Thus we are told (and frequently reminded) in the play that its three (really four; there's a repeat) "movements" are all the same day, even given the fact that they are separated by years. It's really less complicated than that sounds: it is this day, with the same weather, incoming phone calls, and other factors, but happening in a different universe based on previous decisions made by the characters. Call it fate, destiny, or the will of whatever god you believe in: it's always going to happen, though the specific circumstances and outcome may vary because external events are set; an individual's choices cannot affect them.

Still with me? It's OK to be a little bit confused by the concept, but rest assured that the play itself is not confusing. (And, though it is partly in Polish, you'll have no trouble following it.)

It all takes place in the fictional Jana's Restaurant (pronounced "Yanna," of course) and follows the intertwined lives of the two main characters, waitress Lina (Dara Cameron) and immigrant dishwasher Mikolaj (Michael Mahler). (There is a silent third character referred to as "Stagehand" confidently played by J.G. Smith, who also serves some yummy snacks before and after the show.) After a prelude in which Mikolaj plays a piano medley of recognizable tunes–Mahler is also a musician–we enter the first movement, set two years after he immigrated to America. (Though they are on the same day, Movement 2 is set two days after he gets here and Movement 3 takes place fifteen years after. Different life decisions by the characters alter when this day happens in the different timelines.)

Both Mahler and Cameron feel as if these roles were written directly for them. Mahler exudes clear warmth and emotion whether the scene calls for Mikolaj to be able to speak almost no English or to be fluent. You'd call him an open book if you focused on his expressions and eyes, but he keeps the words describing his feelings to himself (though they are literally written down in a small notebook). Cameron is more open about things as Lina, though more to the audience than to Mikolaj; in the movement in which he does not understand any English, she speaks freely and easily about the confusion in her life and even allows her emotions to overflow. Her sense of self-worth is not very strong; she's about to marry a man named Todd who even she realizes is a total loser. As Mikolaj himself tells us directly: it is clear that everyone in the audience expects her to marry him instead of Todd.

That audience is seated at tables in "Jana's," which set designers Grant Sabin and Marcus Klein have based on photos of real Chicago Polish restaurants. It's a fabulous set full of authentic props (found by Elyse Dolan), and it provides a constant sense of grounding for this admittedly unusual play. Both actors openly acknowledge the audience's presence: we exist outside of the timelines in the world of romantic plays, but the actors still interact with us. (It's a delightful and unusual conceit.)

Since the day in question is a rainy one (there is a thunderstorm outside), sound designer Rick Sims and lighting designer Katy Viccellio get to have some fun with rumbling cloud noises and dimming lights, as well as a flashback '80s dance sequence that also allows costume designer Christopher Neville a chance to play.

The new American Blues Theater building is a lovely and wonderful addition to Chicago's theatrescape. This play is the first one staged in their studio space, and in this Polish language adaptation it celebrates the city and its heritage while telling a small, very personal story in a new way. It is meta in structure, both actors acknowledging that they are in a play and even commenting on the songs, which are sweet, simple pieces mostly accompanied by Mahler's guitar (though Smith's ukulele comes in handy too). Despite that meta element and the play's multiversal setting(s), however, it's the pure and honest story you'll remember. It may not have a direct route, but love will find a way.

The Last Wide Open runs through August 18, 2024, at American Blues Theater, 5627 N. Clark, Chicago IL. For tickets and information, please visit americanbluestheater.com.