Art Isn’t Easy

[title of play]

Avid theatergoers could probably provide a list of plays and musicals about the art of making art. Included would be such plays as ART, PICASSO AT THE LAPIN AGILE, RED, VINCENT IN BRIXTON and the quintessential example of artistic creativity, Stephen Sondheim and James Lapine’s beautiful SUNDAY IN THE PARK WITH GEORGE. This Pulitzer Prize-winner illustrates that art is a long process, it doesn’t just happen. The musical details the method by which 19th century French Pointillist painter, Georges Seurat, created his masterpiece, A Sunday Afternoon on the Island of La Grande Jatte. The second act of the musical jumps ahead to the 20th century, where the artist’s great-grandson endures a similar struggle with creativity, demonstrating to audiences that Art Isn’t Easy.

Jeff Bowen and Hunter Bell’s autobiographical 90-minute one-act musical shines the spotlight on two eager young New York playwrights in 2004. Both theater geeks, the two friends hope to write a successful musical for the first New York Theatre Festival and, ultimately, maybe even see it produced on Broadway. They’re joined by two of their actress friends, Heidi Blickenstaff and Susan Blackwell who, like Jeff and Hunter, not only contribute material to the piece but also end up playing themselves in the musical. The end result is a modest little meta theatrical work, the plot of which is about a pair of playwrights writing a musical for the New York Theatre Festival. The characters are the two playwright/composers, forever going through the ups and downs of bringing their pages to the stages. The show is an intelligent, often humorous and sometimes poignant portrayal of the fascinating creative process that leads to the show’s production.

A great deal of credit for PrideArt’s current success must go to Producing Artistic Director, Jay Espano. His sharp, economical direction smartly utilizes every inch of this cozy theatrical space, repositioning the audience onto the opposite side of the venue. Mr. Espano stages his actors with precision, creating some exciting, staggering stage pictures that tell the story. The show’s dizzying dash and dazzle are created by Britta Schlicht’s fantastic Choreography. Throughout the show, Ms. Schlicht’s imaginative movement and dance steps add so much professional panache and stylish swagger to this production.  With the script’s only technical demands being “four chairs and a keyboard,” this modest musical fits perfectly within PrideArts’ intimate space. The focus is always placed squarely on the four actors and their talented, unassuming pianist, Larry (played with humor by the show’s talented Musical Director, Robert Ollis). 

The modest story takes life on the creative Scenic Design by Anshika Pathak and Technical Director Michael Lasswell. The imaginative foldout setting surprises and delights, while nicely serving Espano’s staging. Aidan Smith has created a clever and crafty Lighting Design (especially effective during the musical number, “Awkward Photoshoot”). It always keeps the audience’s focus where it’s needed. 

The only technical difficulaty in this production is an often problematic Sound Design. Val Gardner’s cell phone rings and telephone voice messages are fine; but where the Sound fails is in our ability to hear and/or understand at least one of the actors. The amplification is hung high above and behind the seating area, so that I suspect the audience sitting in those seats may have heard everything perfectly. But for theatergoers seated in the front row, especially anyone with hearing problems, much of the lines were lost.

The cast is excellent, affable and ever so talented. But part of the sound problem is simply not being able to hear or understand the actor playing Hunter. Casey Coppess, who appeared in PrideArts’ terrific production of CASA VALENTINA, as well as Hell in a Handbag’s THE GOLDEN GIRLS LOST EPISODES, tends to swallow most of his lines. At times Mr. Coppess mumbles and seems to speak into his chest. That some theatergoers couldn’t hear or understand him is especially ironic, considering that Casey, like the entire cast, is wearing a body mic. The young actor is certainly experienced and creates a flamboyant and likable character in this show. And this guy can really move! But his performance will become so much stronger with a little vocal coaching.

The other three cast members are absolutely stellar and perfectly audible and understandable. Boyish-looking Jonah Cochin makes his auspicious PrideArts debut as Jeff in [title of show]. He portrays the show’s musical composer and the other half of the creative writing team. Mr. Cochin has wonderful chemistry with Mr. Coppess’ Hunter, exudes plenty of youthful energy, a radiant smile, beautiful singing, spot-on dancing and comic timing, making Jeff a standout in this presentation. Seen in productions at Big Noise, Blank and Porchlight Music, the multitalented Mr. Cochin will hopefully become a regular at PrideArts. 

As Susan, Lexi Alioto has been a familiar face at Theater Wit, First Folio, Lifeline and Black Ensemble Theatres. She makes her first appearance with PrideArts in this musical. Lexi is, quite simply, a treasure. Her gift for quirky comedy, backed by a powerful singing voice and a huge personality that fills the PrideArts stage, makes this talented actress a favorite among this cast. 

And the beautiful and exquisitely trained triple-threat Shannon McEldowney returns to Chicago, after touring in DIRTY DANCING IN CONCERT. She beautifully portrays a radiant Heidi, the one character who’s actually appeared on Broadway. During Shannon’s polished performance I was constantly reminded of Broadway musical actress, Laura Benanti. Ms. McEldowney is lovely, likable, alternately sweet and saucy, sings like a bird and moves like the finest, well-trained dancer on Broadway. Hopefully we’ll be seeing more of her in the future.

While the score is fun, well-sung and filled with hundreds of references to famous Broadway musicals, the songs are not particularly memorable. The production opens with buddies Jeff and Hunter chatting on the phone in an “Untitled Opening Number.” During the conversation, they talk about the upcoming New York Musical Theatre Festival, whereupon the two aspiring playwrights decide to write a show and enter it. They discuss the burning need to create “An Original Musical,” as opposed to merely adapting a book, a play or a movie, like so many musicals currently playing on Broadway. After several failed attempts to arrive at an original story (“Monkeys and Playbills”), the two decide instead to document the creation of the very show they’re writing. With Susan and Heidi there to fill out the cast, provide additional dialogue and add ideas, we get one of the loveliest songs in the show, “I am Playing Me.”

The show does earn accolades at the Festival and goes on to play at the Eugene O’Neill Theatre Center, finally booking a short run Off-Broadway at both New York’s Ars Nova and the Vineyard Theatre. There, the show wins the Obie Award for its creators, cast and director. Fulfilling Hunter’s dream, the show ultimately transfers to Broadway for a limited run, and this move is chronicled on YouTube, helping to make the show the cult sensation it is today. 

As Sondheim wrote in his song, “Putting It Together,” Art isn’t easy. And if there was ever a musical that illustrates and supports this adage, it’s [title of show]. Overflowing with laughs, winking references to dozens of other popular musicals, and filled with intelligence, wit and respect for each of its characters, Jay Espano’s excellent production is a winner. The show is a funny, warmhearted look at what it takes to create, collaborate and live the Dream. This modest little production honestly and lovingly portrays the art of making art.    

Recommended

Reviewed by Colin Douglas

Presented August 23-September 22 by PrideArts, 4139 N. Broadway, Chicago.

Tickets are available in person at the theatre, by calling 773-857-0222 or by going to www.pridearts.org.

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