Four Spirits in Search of a Story

Ghost Quartet – Black Button Eyes Productions

In the very intimate venue of Stage 773, appropriately called “The Box,” four talented actor/singer/musicians ply their craft. Individually and together they play multiple characters who spin a series of interwoven story fragments that transcending seven centuries. Weaving vocal and instrumental melodies and motifs  throughout creates an atmosphere of eerie contemplation. The stories come from many sources. They’re borrowed from the Grimm Brothers’ “Snow White and Rose Red,” Edgar Allan Poe’s “Fall of the House of Usher” and the Scheherazade tale from “One Thousand and One Nights.” Then they’re given unique twists that make the stories feel original, yet slightly familiar. Somehow, an evil bear, a subway murder and the ghost of jazz pianist Thelonious Monk also figure into the four tales.

Dave Malloy’s musical revue, for which he’s written the music, lyrics and text, has been dubbed “a song cycle about love, death and whiskey.” Malloy’s name may sound familiar to musical theatre aficionados. He’s the composer of the recent Broadway hit, “Natasha, Pierre & The Great Comet of 1812,” and is a contemporary actor, playwright, composer and lyricist. This one-act is presented as a series of songs appearing on a two-record package. Throughout the evening, the actors announce to the audience that we’re about to see and hear “side one, track three.” The score is arranged for four voices accompanied by piano, cello, percussion, guitar, ukulele and autoharp. That means that, besides being required to sing beautifully, in a number of musically styles, while portraying a variety of roles, the quartet also have to be comfortable with playing several musical instruments, as well. And they do.

Kudos to Edward Rutherford for skillfully and artistically directing this difficult piece. He’s been at the helm of so many musicals in the past five years, but has outdone himself for this production. Rutherford’s greatly assisted by Musical Director Nick Sula, and Derek Van Barham has found the appropriate moments for his eclectic choreography. A great deal of the magic in this production are courtesy of Jeremy Hollis’ scenic design that transforms the stage into something that resembles your grandmother’s cluttered attic. It’s filled with hundreds of unusual items that dress the set, along with some interesting props, all provided byAdrian Hadlock. G. Max Maxin IV has designed an unbelievable series of clever animated projections, which play against the upstage wall and drapery, helping tell each of the stories. Liz Cooper’s lighting is shadowy perfection and filled with ghostly atmosphere.

The cast is excellent. Remembered for her wonderful performance of Anne in BoHo Theatre’s “A Little Night Music,” among other shows, Rachel Guth adds another feather to her hat. This young actress has a gorgeous voice with a wide, expressive range. She also contributes on several instruments, in particular the autoharp. Amanda Raquel Martinez is, once again, very good in this production, making her debut with this company and playing Pearl White. Also a multitalented artist, playing several stringed instruments with ease, Ms. Martinez recently knocked it out of the park in Steppenwolf’s “La Ruta,” as well as Red Orchid’s musical play, “33 to Nothing.”

T.J. Anderson, who, in addition to being a versatile actor, often works around Chicago as a musical director. For this show, he takes the reins at the piano, singing and providing a number of interesting characterizations, while demonstrating his talent on every manner of instrument. And Alex Ellsworth, who primarily occupies a chair on stage left, plays the cello in this production. He also sings, assumes several characters (including the spirited Thelonious Monk) and demonstrates his skill at percussion, as well.

This is certainly an unusual production. Unlike many of Ed Rutherford’s previous shows, such as “Armour,” “Coraline” and the wonderful recent “Evil Dead, the Musical,” this is musical that swirls around through time and space. It can be a bit confusing unless theatergoers realize they’re not going to be seeing a linear story. Characters an pieces fly about throughout the 90-minute song cycle, as the stories use ballad, doo-wop, Asian fork music and other musical styles to tell this story about life, love and death.

Recommended

Reviewed by Colin Douglas  

Presented July 12-August 17 by Black Button Eyes Productions, at Stage 773, 1225 W. Belmont Ave., Chicago.

Tickets are available in person at the theater box office, by calling 773-327-5252 or by going to www.stage773.com.

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