The Wilds of Social Media

Highway Patrol

It’s unavoidable and inescapable. The wilds of social media have infiltrated almost everyone’s lives and we simply can’t ignore it. The phenomenon is here to stay. There are so many sites to choose from, too. There’s Faceboook, Instagram, Linkedin, Snapchat, Tumblr, Pinterest and, of course, Twitter (now retitled as X). Being a devotee of these sites can be dangerous and addictive. While freedom of speech reigns, there’s a risk that the information presented may be filled with disinformation. There’s also a possibility of scams and stalkers. But, on the positive side, social media is an easy way to stay connected to others. Friendships and love connections can develop or be rekindled and, despite where we live, we can feel a kinship or a part of the community on the World Wide Web.

The Water is Rising

Flood

If theatergoers are watching a play where human existence seems meaningless and communication has totally broken down, the audience is likely visiting the world of Theatre of the Absurd. Critic Martin Esslin coined that term in a 1965 essay that primarily focused on the works of Samuel Beckett and Eugene Ionesco. In it, he went on to say that in a production of an Absurdist drama, reality as we know it has left the building. The play aims to shock the viewer out of his complacency as it attacks such ideals as family, religion and politics. But instead of despair, Absurdist dramas, like “The Bald Soprano” (Ionesco), “Waiting for Godot” (Beckett) and “The American Dream” (Edward Albee), evoke laughter and offer a sense of freedom.

A PRETENDER NOT A CONTENDER AT THE LYRIC

Whether you are, like me, a boxing fan or unalterably opposed to that primal sport for its bloody brutality, if you’re planning to see Champion, the Lyric Opera’s “opera in jazz,” it’s essential to first view a certain grainy black-and-white video available on YouTube.  It depicts one of the absolute low points in the history of the sport, Emile Griffith’s fatal beating of Cuban boxer Benny Paret in their third fight; the actual footage of Paret’s slow collapse under a barrage of 29 unanswered punches from Griffith is an important corrective to the awkwardly aestheticized and distanced version of that event that is intended to be the dramatic turning point of Champion.

He’s Always Watching, Even in IKEA

In Quietness

Her high end job demands that Max, a successful, Manhattan Alpha career woman, leave Paul, her would-be writer husband, and travel once a week to other locales. Max is definitely the breadwinner and her house-husband fills his lonely time by lounging around their flat, attending a Bible study group and having an affair. Upon returning home from her recent business trip, Paul suddenly blurts out to Max about his infidelity and that his mistress is in a coma in the hospital. To repent, he’s decided to relocate to Texas in order to train to become a pastor. In an effort to save their marriage, Max somewhat forgives Paul for his indiscretion, leaves her high end job, follows him to the Southern Baptist seminary, where she enters the Homemaking House. There she’ll bunk in with a young, recently engaged Bible-thumper named Beth and train to become a subservient, God-fearing happy housewife.    

The Chicago premiere of this one-act by Anna Ouyang Moench is yet another comic drama by the award-winning playwright and screenwriter. Ms. Moench’s known for thought-provoking plays like “Mothers,” “Birds of North America” and “Man of God,” but her most recent play examines the archaic gender roles once assigned to men and women during the 1950’s. But in today’s ever-evolving Me Too era, the return of these stereotypical roles, promoted by a certain conservative religious groups, make audiences bristle with discomfort and laugh at concepts that now feel old-fashioned.

Among the many questions posed and the ideas tossed around, a change in gender roles take priority. Terri, the manager and matron of the Homemaking House program, continually shows up spouting religious maxims that voice her teachings, such as “Times change—and then they change back.” She reminds Paul about the omnipresence of God, while on a shopping excursion. She tells him that “He is always watching, even in IKEA.” Terri and Beth both lecture Max that, as to the Lord, she must also submit to her husband. He’s the head of the family, just like Christ is the head of the church. All of these words of wisdom provoke laughter from some audience members and groans from others.

Moench’s play, skillfully directed by A Red Orchid ensemble member, Dado, makes excellent use of her talented cast, as well as the theater’s intimate space. Grant Sabin’s sleek, stylish scenic design, accented by Heather Gilbert’s area lighting, allows for quick and easy changes in locale.

The talented cast is led by two great Chicago actresses. The first is the always brilliant Brittany Burch. With credits from regional theaters all over the country, including Steppenwolf and the Goodman Theatre, Brittany is an ensemble member at the Gift Theatre. There she has given powerful performances in such plays as “Unseen,” “Good For Otto,” “Othello” and most recently, “The Locusts.” Ms. Burch is terrific in the role of Max. Not only through her expert line delivery, but in Brittany’s subtle body language and facial expressions, the actress shows us a full, three-dimensional character conflicted with difficult choices and decisions. And, in addition to being A Red Orchid’s wise artistic director, the gifted Kirsten Fitzgerald is magnificent as Terri, a fully-realized religious zealot whose word is not ever to be questioned. Much of the humor in this production comes from Ms. Fitzgerald’s sweetly-drawled dialogue and funny, flighty gestures. Clothed in costume designer Kotryna Hilko’s pretty pastel pantsuits, Kirsten dominates the stage with every entrance.

Making her auspicious debut at A Red Orchid, Alexandra Chopson is a powerhouse as Beth. She creates a character who is an enigma, a young woman who’s a conundrum of religious beliefs and personal longings. She also provides some of the play’s humor in her spiritual fervor, especially as it’s directed toward Max and Dusty, her strange fiancee. He’s played with delicacy and nuance by another newcomer, Adam Shalzi. And Joe Edward Metcalfe, yet another newcomer to A Red Orchid Theatre, appropriately plays Paul, the cheating husband who seeks repentance through religion. As Max throws herself into learning how to be a good homemaker, Paul tells her that he really likes her transformation. Turned on by Max’s new docile persona, he ultimately sneaks into the women’s dormitory in an ill-fated attempt to rekindle some romance with his wife.

With thoughtful direction and sound performances, A Red Orchid’s first production of 2024 is humorous and certainly thought-provoking. Anna Ouyang Moench’s play is an entertaining comic drama that raises a whole lot of questions. It also challenges many contemporary beliefs about gender as well as ideas concerning religion. But one thing the play doesn’t do is provide sound answers, advice or conclusions. Those are up to each audience member.           

Recommended

Reviewed by Colin Douglas

Presented January 11-March 3 by A Red Orchid Theatre, 1531 N. Wells St., Chicago.

Tickets are available in person at the box office, by calling 312-943-8722 or by going to www.aredorchidtheatre.org.

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