Money Can’t Buy Me Love

Birdland – Steep Theatre 

 

Receiving its world premiere four years ago at London’s Royal Court Theatre, Simon Stephens’ over two-hour one-act drama is an uncompromising examination of a popular rock star, at the height of his success, for whom money is no object. In fact, the word “no” is thoroughly unknown to him at this stage in his career. As directed by daring, thoughtful Chicago director Jonathan Berry, Paul is a grownup spoiled brat. He’s a monster, given to outrageous, almost preposterous demands, saying anything that pops into his swelled head and throwing childish temper tantrums when he doesn’t get what he wants. The Beatles sang that “money can’t buy me love,” but that thought has never crossed Paul’s drug- and alcohol-riddled brain and inflated ego until, by the end of the play, everyone has left him. It’s only in these final lonely moments where we feel that Paul might’ve possibly learned a lesson.

As the houselights dim, we hear the deafening applause and screaming approval of a stadium filled with fans. When we first meet Paul, a mega rock star, he’s in the final days of a hugely successful worldwide tour. Paul’s a famous celebrity at the height of his fame. Everyone on the planet knows his name and wants to meet him. Whatever he wants he knows he can have. That includes hard-to-get foods, rare vintage spirits, luxury hotel suites, unattainable women—even a private helicopter. 

The people who surround him learn to endure Paul’s boorishly bizarre antics, along with a tongue that seems to be disconnected from his brain. They include, but aren’t limited to, Johnny, Paul’s composer, lead band member and confidant; Marnie, Johnny’s French girlfriend, who Paul seduces and then shames into committing suicide; Jenny, a sweet Berlin hotel employee who Paul lures away, falsely promising her the grand life; David, Paul’s cheeky manager, who’ll say and do anything to appease his client; and Paul’s poor, but proud dad, whose son can’t bring himself to tell him that he loves him.

Berry has staged his production alley-style, with Paul never leaving the stage; his seven-member supporting cast, all of whom play multiple roles, sit offstage, just out of the limelight, at either end. They subtly change their costumes, wigs and hats in the shadows, often donning garish sunglasses and standing with cellphone cameras snapping away. Joe Schermoly’s sparse playing area, accessorized with movable chrome and gray furniture, can be lit from within. Brandon Wardell’s evocative lighting also comes from above, often accented with haze and fog to create a visual effect for Paul’s cloudy mind. The sound design for this production, created by Thomas Dixon, aurally  enhances this image, employing the sound of grating static whenever Paul undergoes stress. And Emily McConnell’s easily adaptable costumes add another layer to each character.

 Joel Reitsma’s portrayal of Paul is mesmerizing. Theatergoers will either love him or hate him, but they won’t be able to look away. Audience members could be heard murmuring gasps of disbelief as this cad torments and humiliates the parents of Johnny’s deceased girlfriend. When Paul savagely turns on Jenny, after offering her an opportunity at the glamorous life, a few spectators mumbled, “Oh, no.” When Paul shares an awkward reunion with his discarded, cash-strapped dad, and then reverses the offer to help him financially, it becomes the final straw. Reitsma’s character is part little boy lost and part heartless, arrogant celebrity pig.

As Johnny, Dushane Casteallo is the polar opposite of the superstar, Paul. He creates a likable character who’s courteous, conscientious and caring to everyone around him, including Paul. When his friend finally confesses the truth about the reason for Marnie’s suicide (a character beautifully and delicately played by Lucy Carapetyan), Johnny can no longer turn his back on Paul’s insensitive behavior, and he leaves the band. Casteallo’s portrayal is poignant and pitying.

Aila Peck, who creates the role of Jenny, along with several other characters, is a standout here, as she was in Shattered Globe’s recent “Five Mile Lake.” With intelligence and understanding, this lovely, articulate actress is an empathetic supporting character with whom the audience identifies and cheers. She also plays a tough, by-the-book police officer who confronts Paul about his most recent sexual escapade with a minor.

The rest of the cast is terrific. Peter Moore is very strong as David, Paul’s ever-accommodating manager. He stands out in several other roles, as well. Jim Poole is brilliant in several parts, particularly as Paul’s humble, but proud father. Cindy Marker and Amber Sallis are equally exciting and memorable as Annalisa and Nicola, among several other roles.

Simon Stephens’ seemingly cautionary drama, partially inspired by “Birdland,” a song by Patti Smith about a boy and his dad, is both powerful and repugnant. The drama is a Faustian tale of fame and fortune, acquired in exchange for the leading character’s humanity. As in plays like “Pal Joey,” where the protagonist is such a distasteful, disgusting antihero that no one would want to be associated with him, Paul serves as a man whose identity has become lost in the public glare. Without offering any forgiveness, Stephens view of the unrelenting pressures and demands that come with stardom is played out by Jonathan Berry’s talented cast in a play that’s fascinating, but difficult to like.

Recommended

Reviewed by Colin Douglas  

       

Presented April 5-May 12 by Steep Theatre Company, 1115 W. Berwyn, Chicago.

Tickets are available by calling 773-649-3186 or by going to www.steeptheatre.com.

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