Blank Theatre Company’s THE MAD ONES burns like a roman candle.

“[…]the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue center light pop and everybody goes “Awww!”

Front: Rachel Guth (Samantha Brown); Back: Anne Sheridan-Smith (Beverly Brown), Karylin Veres (Kelly Manning), and Aiden Leake (Adam) photo by Elizabeth Stenholt

Jack Kerouac’s famous declaration in On the Road has echoed in the hearts and minds of readers and dreamers since it’s publication in 1957. It also titled the current Blank Theatre production, The Mad Ones, by Kait Kerrigan and Bree Lowdermilk, which premiered off-Broadway in 2017. The Blank Theatre’s production is presented in a small theater on the third floor of the Athenaeum Center for Thought and Culture.

It opens with soon-to-graduate high school senior, Sam (Rachel Guth) sitting in a car, trying to hype herself up to drive it. Sam is on the precipice of her life – and paralyzed by the pressures of it all. Guth’s wide eyed, slightly awkward portrayal of Sam rings true to a particular kid; anxious, smart, high achieving and people pleasing. She sits in her car and dreams herself into a confident, “mad one”, but can’t make that dream a reality. That is unless her best friend, Kelly (Karylin Veres) is around. Kelly is everything Sam wishes she could be, she’s a “mad one” as described by Kerouac in Sam’s favorite book. Kelly is the Roman Candle, and Veres’ powerhouse voice and self-possessed presence sparkles against Guth’s clear soprano and earnest delivery. Despite their differences, the chemistry and vocal harmony between the two shines from the moment they share the stage together.

While Sam navigates the bumps and detours of senior year: She’s the Valedictorian, but can’t pass the driver’s test, she’s torn between her sweet, supportive, wildly unambitious boyfriend and her type-A mom, she can’t decide which school to attend – Kelly is always there: encouraging, teasing, distracting and supporting, the way only a best friend can. The rest of the cast, Anne Sheridan Smith as Sam’s mom Beverly, and Aidan Leake as boyfriend Adam, flesh out Sam’s world and provide perspectives on Sam’s choices and personality that create a well-rounded, totally engrossing experience. As we travel with Sam through her relationships and obstacles, it’s revealed that while dealing with all the normal, and enormous, pressures of stepping into adulthood, Sam is also grappling with profound loss.

The stage is sparse. Vague, mountain shapes line the back, a platform folds into a small bench. The dashed line of a highway cuts across the black floor. Lighting Designer James Arakas did a fantastic job of bathing the actors in cool and warm tones that created moods and moments with no need for props or set pieces. Every element, carefully chosen, was designed to highlight the cast, and let the book and lyrics do the talking. The minimalist approach created a focus on the action on stage that was totally engrossing: the lack of intermission went unnoticed.

It would be easy for this show to go maudlin, but Director Kent Wyatt makes several sly, comedic choices that keep the emotional resonance squarely in the realm of believability. A highlight was the song The Proposal, about that major milestone – losing one’s virginity. The entire cast joins in, and Ann Sheridan Smith in particular shines, encapsulating the nostalgia for the lost innocence, the horror of witnessing it in your own child, and the simple pleasures of early love. Overall, the score is remarkably challenging. Many of the songs have a broad range, odd tempos, hooks, and unexpected minor notes that create an overall feeling of intensity and modernity. While backed by an (invisible) live band, much of the singing is done with sparse accompaniment. Musical Director Aaron Kaplan wisely chose to let his cast do the heavy lifting – and they all performed admirably, making the difficult intervals feel like natural, emotional responses.

The entire cast shines in this production, Aidan Leake’s Adam is a refreshingly sweet, honest kid who has an almost carnal love of tacos. Anne Sheridan Smith’s performance Miles to Go was an emotional, powerful reckoning with the struggle of a mother to clear a path, and yet prepare her child for unavoidable obstacles, made all the more powerful by her classic, broadway belt.

But, this is a love story as much as it is a coming-of-age. Guth and Veres create a friendship on stage with a love that is palpable. At once silly and serious, petty and profound, the intensity of their relationship drives the story, and carries Sam through to the next chapter in her life.

The Mad Ones reminds us that life is the Roman Candle, and we all burn – so remember to look up and say “aww.”

Highly Recommended

Reviewed by Alina C. Hevia

Presented at the Athenaeum Center for Thought and Culture on 2936 N Southport Ave.

July 12 through August 11, running on Tuesdays, Thursday, Fridays and Saturdays at 7:30pm and Sundays at 3:00pm.

Tickets for THE MAD ONES are $15.00 – $35.00 and can be purchased online at www.blanktheatrecompany.com.

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