Livin’ in Shame

L’imitation of Life – Hell in a Handbag

 

They say that everything old is new again and no adage could be more apropos in the case of this sidesplitting parody. In 1933, popular American author Fannie Hurst published her most famous novel, Imitation of Life, which was adapted into a major motion picture the following year. In 1959, Douglas Sirk directed another film version of Hurst’s novel that most movie aficionados know best. Significantly altered from the original novel and the 1934 film version, Sirk changed the leading character from a working class woman, who makes it big, to a beautiful, blonde Broadway star, who climbs (and often sleeps) her way to the top, at the detriment of everyone around her. The movie became a starring vehicle for box office favorite, Lana Turner. As in Hurst’s original novel, the movie dealt especially with issues of gender, race and social class.

Brilliantly adapted by Ricky Graham and Running With Scissors, movie star Lana Turner becomes the main character in this hilarious, spot-on satire. While at the beach one day with her daughter, Suzie, Lana chances to meet single, African American mother, Annie Johnson, and lighter-skinned little girl, Sara Jane. With her celebrity status on the rise, Lana realizes that she could use a housekeeper, as well as a nanny, to look after Suzie so she invites the Johnsons to move in with them.The play evolves into a soap opera about two very different women, from opposite walks of life, trying to raise their daughters in a world dominated by powerful men. Lana is recently widowed, thanks to Suzie’s homicidal knife skills, and is attempting to erase the scandal while making it big in show business. Sara Jane is trying to rise above her low social status, ashamed of her dark-skinned mother while trying to pass for white. Paying homage to the time period in which the film was set, the story overflows with funny one-liners. Everything about this scintillating, sexy satire is hilariously over-the-top. 

Hell in a Handbag Productions opens its 2018 season with this radiant revival of their crowd-pleaser from five years ago. Reprising their roles from 2013, Handbag’s incomparable drag diva, Ed Jones, makes a luminous, if cluelessly self-centered, Lana. Robert Williams, who’s grown even more comfortable and accomplished in this role, is perfection as Annie Johnson. This time around, spunky Suzie Turner, who was originally created by the revival’s director, Stevie Love, is played exquisitely by newcomer, Katherine Bellantone. And Sara Jane Johnson comes to life in the hands of gifted Ashley J. Hicks. Both young ladies are making their auspicious Hell in a Handbag debuts with this production, and hopefully we’ll be seeing more of them in the near future.

Almost unbelievably, the rest of the large cast is played with unbridled energy and imagination by three company regulars. The handsome, always delightful and studly Chazie Bly portrays, among others, Steve Martin, Lana’s on-again, off-again boy toy. While Lana’s away shooting films, Suzie develops a crush on Steve, complicating and disrupting the domestic scene when Lana returns home. The incredibly talented Allison Petrillo and Chase Wheaton-Werle dazzle as an Italian movie mogul, a burlesque queen, an adult entertainment director and countless others.

Stevie Love’s inspired direction brings the best out of this comically-gifted cast and nicely utilizes the entire theatre space. In addition, there’s a legion of additional, talented behind-the-scenes artists who make this production possible. Samantha Gribben’s slick, adaptable, multilevel scenic design offers much more pizzazz than in the original production, which was staged in Mary’s Attic tiny Cabaret Bar. The set is beautifully enhanced by Peter Nevillle’s professional video work, Rachel Lake’s Broadway calibre lighting design with properties designed by Adrian Hadlock. 

All the exquisite costumes, especially Ed Jones’ magnificent evening gowns, are designed by Gary Nocco, with assistance from David Cerda and Rose Ryan. And the icing on the cake is the stylish makeup, designed by Sydney Genco, and an array of breathtaking wigs and hairpieces created by Keith Ryan. Isaac Mandel’s terrific sound design wisely concludes the play with “I’m Livin’ in Shame,” the Supremes’ hit record that was inspired by Douglas Sirk’s film. The song is a fitting finale to this fine production, with Sara Jane, backed by the entire cast, lamenting the way she treated her dear, devoted mother, gone now forever.

According to singer Peter Allen, everything old is new again. And that saying is especially fitting for Hell in a Handbag’s much-welcome revival of this parody. If anything, this version’s even better. It’s more polished and directed with obvious affection and intentional camp by Stevie Love. The choice to present this sprawling Hollywood saga in the larger Stage 773 venue was wise. While this adult comedy still has an intimate feel, the additional space offers far more staging opportunities. And Love’s cast, especially Ed Jones and Robert Williams, and his professional technical support are just about as good as it gets.

Highly Recommended

Reviewed by Colin Douglas   

   

Presented March 31-May 6 by Hell in a Handbag Productions at Stage 773, 1225 W. Belmont Ave., Chicago.

Tickets are available at the box office, by calling 773-327-5252 or by going to www.handbagproductions.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.