A Musical Daisy Chain

Hello Again – Theo Ubique

If it’s true that sex sells; this show should bring in a fortune.  However, you would never know from the innocent title of this curious little 90-minute musical that it depicts just about every form of sexual expression known to man. And, in the intimate Theo Ubique Cabaret Theatre, that means you get simulated sex practically in your lap. Younger and more sensitive audiences should be warned that Michael John LaChiusa’s 1993 musical is a mature, explicit treatise about how people have used sex as power throughout every decade of the 20th century.

LaChiusa’s musical transformation of Arthur Schnitzler’s 1897 play “La Ronde” incorporates much from the original, but is set to a score that is quite different from your typical Broadway fare. Borrowing from a variety of melodic styles, from turn-of-the-century opera to the disco beat of the 1970’s, the songs are more like musical dialogue, sometimes discordant and atonal, and often introducing musical themes and motifs which are echoed throughout other scenes and tie together the relationships of the various characters.

Director and choreographer Brenda Didier’s production is courageous, often poetic in its movement-oriented staging and definitely risqué. Resident musical director Jeremy Ramey offers his typical extraordinary guidance, along with keyboard accompaniment, while conducting his four pit musicians on violin, cello, reeds and percussion. Perched high above the stage, the music absolutely fills the theatre with LaChuisa’s harmonic arrangements. LaChuisa’s parade of characters aren’t simply looking for fornication, although that often seems to be the case. Rather, they’re using sex as a means to an end. The entire cast is savvy and in full control of what their characters really want.

Opening in the 1900’s under a streetlamp, Megan Elk seethes with animal sensuality as The Whore, displaying a rich, incredibly accomplished voice (“Hello Again”), while seducing talented Christopher Ratliff, who plays the young Soldier. The scene shifts to the 1940’s, as Ratliff becomes a youthful WWII military man searching for a quickie (“I Gotta Little Time”) before being deployed. He finds sexual release in the arms of The Nurse, played with romantic innocence by Nora Navarro. The next scene finds Ms. Navarro as a naughty Nurse playing doctor with Nik Kmiecik, as The College Boy. She takes control by gagging and binding him with her stockings, while purring “The Story of My Life.”

The lights change and The College Boy is discovered sitting in the balcony of a movie theatre during the 1930’s, where he’s enjoying a dalliance with a cheating, Young Wife, played by the mega-talented Molly LeCaptain. Then the scene switches to the 1950’s bedroom of The Young Wife and her Husband, portrayed by handsome, talented Royen Kent, who are dressing for the opera. Clearly their relationship has grown stale; and the couple goes through their mechanical love-making, with no romance involved. As we leave the Wife pining for a lover from long ago, we rejoin The Husband in his luxury, 1912 ship stateroom. Unlike the previous vignettes, theatergoers with a knowledge of history will know where this scene is heading. The Husband explores his bisexuality by inviting Marco Tzunux, as The Young Thing, for an intimate dinner; but as the scene becomes intimate the anticipated tragedy strikes. 

The Young Thing, having survived the disaster at sea, has time-traveled to a 1970’s disco. There he’s enticed by sexy Max J. Cervantes, as The Writer, to join him for an uninhibited roll in the hay on his futon. Next, the Actress, played with passion by the always impressive Neala Barron, implores The Writer, who’s  now a 1920’s theatrical composer, to “Do a Little Rewrite” of her role in his show. On her terrace, the Actress is having a secret rendezvous in 1980, with a cautious Courtney Jones, as The Senator. The evening ends when, in the final scene, Ms. Jones encounters Megan Elk’s voluptuous Whore, and show has finally come full circle.     

Rachel Boylan’s costumes are colorful, attractive and nicely  convey the many time periods. Along with retro wigs by Keith Ryan, they help the audience to journey between decades. Less is so often more, and Nicholas James Schwartz’s scenic design, including a spectacular high-rise bandstand, works beautifully in the petite Theo Ubique Cabaret venue. And, while sometimes the scene is a bit too dark, lighting designer James Kolditz has illuminated the musical with eroticism.

Sensitive audiences should be warned that this is an R-rated musical. It deals bluntly with adult material and themes, and portrays all expressions of the carnal act. But, in the end, this sensuous show relies on the strong talents provided by a dazzling cast of actor/singers/dancers. They’re lovingly guided by the magnificent Brenda Didier and Jeremy Ramey, aided by Jaq Seifert’s tasteful intimacy direction. The ten cast members make each musical interlude sparkle with steamy sexuality, bringing both humor and drama to each scene. And, let’s face it: where else in Chicago can an audience become voyeurs to a daisy chain of so much love-making, with musical accompaniment, and all under 90 minutes?

Highly Recommended

Reviewed by Colin Douglas

Presented September 23-November 3 by Theo Ubique, 721 Howard St., Evanston, IL.

Tickets are available in person at the box office, by calling 773-347-1109 or by going to www.theo-u.com.

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