Fireworks for a Summer Night

The Crowd You’re in With – Aston Rep Theatre

It’s July 4th, and in the typically tiny back yard of Jasper and Melinda’s north side apartment a cookout is taking place, as a prelude to the evening’s holiday fireworks. The young couple’s invited their friends over for burgers and booze. The guests include young, married couple Dan and Windsong, who’s pregnant with their first child, their middle age landlords from upstairs, Tom and Karen, and their single friend and fellow band member, Darcy. It soon becomes clear that the pyrotechnic display that they’re planning to watch won’t be the only fireworks on this summer evening.

There’s a noticeable crackle in the air, as the audience first becomes acquainted with these seven characters from Rebecca Gilman’s 75-minute one-act, written early in the prolific playwright’s career. This crackle will soon escalate into Roman candles and bottle rockets, and this circle of friends will never be the same. Jasper, who’s tending to the realistically smoking grill, begins subtly bantering with Melinda, his amiable wife, who gives it right back to him. She’s busy setting the table and checking on ice and condiments as their longtime friends and peers, Dan and Windsong arrive. 

Because he’s a rock music critic, and since Dan considers himself the city’s authority, the conversation turns to his pompous view on various indy groups. Dan, Jasper and Darcy have, in fact, formed their own band which rehearses in the basement of the apartment. Because Windsong is with child, the conversation naturally turns to her upcoming baby shower, the name they’re considering for their daughter and other small talk about childrearing. When the couple asks Melinda and Jasper about their efforts to have a baby, bitter sadness erupts as we learn that they’ve been unsuccessful at trying to get pregnant. There are a few jabs at Jasper’s manhood that add fuel to the fire.

But when Tom and Karen join the party the emotional fireworks really become ignited. The older couple, who are atheists and political activists, are filled with cynicism about the world. When Windsong says she’s worried about the War in Iraq, Karen responds with a thoughtless, “Of course you’re upset. The world’s probably going to end in your baby’s lifetime.” Then Dan and Windsong probe the older couple by asking them if they have any kids? When they learn that Tom and Karen have purposely chosen to remain childless, they challenge them by asking if their decision isn’t selfish? Eventually the landlords make their excuses to leave and return to their upstairs apartment.

The bad feelings continue as Jasper, who rather enjoys his conversations with Tom and Karen, tries to defend them. Then, for no good reason (except that Jasper finds Dan an idiot), he begins attacking his younger friends. As Melinda watches and listens to all this, she starts to think that maybe her husband isn’t on the same page as her when it comes to starting a family.

Based on her other works, Rebecca Gilman’s early play isn’t nearly as satisfying as one would hope. The script, which unfolds in real time, feels unfinished. It’s like a teaser for an unwritten second act that would provide more finality to the story. The characters are interesting, and well-acted, although poor Darcy (who used to be called Dwight, in Gilman’s original script), nicely played by Erin O’Brien, only gets to offer a few choice barbs. She does have one funny monologue, that Ms. O’Brien delivers with relish, about being a waitress for those annoying, entitled couples who bring their children to the restaurant. 

As Karen, Lynne Baker delivers the production’s strongest performance. As this acerbic, highly opinionated woman, Ms. Baker seems effortless. Of course, this isn’t her first rodeo; the actress has performed at theatres all over Chicago, and will hopefully be seen again very soon. Sara Pavlak McGuire, who serves as Co-Artistic Director of Aston Rep, is also excellent as Melinda. This talented young actress has a very natural quality that she brings to every role she plays, as well as a face that speaks volumes. And, as Jasper, Martin Diaz-Valdes, who greatly impressed audiences in Organic Theatre’s recent “Melancholy Play,” creates another honest character, as a young husband to whom no one listens, until he blows up.

In spite of this being at least the third Chicagoland production of Gilman’s one-act play, Director Derek Bertelsen has done a fine job, putting his own stamp on this version. He’s capably led the cast through their paces, encouraging blisteringly realistic performances from his ensemble that are most successful in his leading players. Jeremiah Barr’s scenic and property design is detailed enough that his set looks like a real Chicago backyard. Artistically lit by Samantha Barr, the late afternoon sunshine fades into the shadowy moonlight of an early summer evening. And complemented by Melanie Thompson’s sound design, the night’s pyrotechnics conclude with actual Fourth of July fireworks.

Recommended

Reviewed by Colin Douglas

Presented May 16-June 16 by Aston Rep Theatre Company at Raven Theatre, 6157 N. Clark, Chicago.

Tickets are available in person at the box office, by calling 773-828-9129 or by going to www.astonrep.com.

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