As Timely As Today

One Party Consent

You know how when you attend a show—any show, these days—it has become obligatory to give the cast a standing ovation? It’s annoying because every theatergoer is forced to rise and applaud when, perhaps, there were aspects of the production that you didn’t feel merited such a stellar response. But I’m here to tell you that every single element of First Floor Theater’s latest production deserves this kind of praise. Omer Abbas Salem’s brilliant ONE PARTY CONSENT is, not only electrifying, but as and timely as today.

Many plays dabble in contemporary controversial issues. They stick their metaphorical toe into the water but don’t ever immerse the audience in the matters that concern. The play so often raises a point in question but then fails to explore it, resulting in the audience leaving the theater forgetting that the matter of contention was ever part of the story. Not so in this scintillating 80-minute one-act that smacks the audience in the face with several specific contemporary issues and never stops ramping up the stakes until the final, gasp-inspiring moment. 

I won’t ruin anyone’s future theatrical experience by divulging the plot details. Watching this succinctly told, beautifully layered story unfold is a cerebral and emotional delight that each theatergoer must enjoy for themselves. Suffice it to say that the plot is ignited when Fola, an Asian graduate student completing her MFA at a prestigious university, attends her mid-year review. Clearly, from the very moment she arrives, Fola is masking her anger about something. The sensitive and intelligent young woman has her own specific agenda to address, with some especially sticky points to be thrashed out.

 Prior to Fola’s arrival at her office, we meet Ellen Healy, the Dean of Theatre. Dean Healy is overly-affable. She comes off as a pleasant woman, but condescending with sudden mood swings. Ellen displays the patronizing personality reminiscent of a longtime kindergarten teacher. Sandra, another graduate student, serves as the Dean’s office assistant. From the beginning, theatergoers will see Dean Healy for who she is: an overbearing woman who relishes the power she wields. She treats the two students in her charge like young children. Sandra, as assistant to the Dean, is hilarious as she plays up to Ellen; but she continually finds herself in the awkward, conflicting position of wanting to support Fola and yet needing to back up Dean Healy.

Omer Abbas Salem is definitely a talented actor, who’s been seen on practically every stage in Chicago. Salem is also a gifted and prolific playwright, who has had their plethora of plays produced seemingly everywhere. This new, World Premiere is particularly well-timed. The drama deals with several of today’s hottest topics, especially in view of the present political climate of our country. Salem’s play explores diversity, equality and inclusion, along with professionalism, trust and working relationships, especially when one’s confidentiality is compromised. It also focuses on the emotional response when acknowledging one’s personal identity, racial orientation and stereotyping. I can’t think of a better-written play today that treats so many au courant topics in such a powerful and concise story.

Nadya Naumaan has guided this production with so much fire and passion, but they never let the sparks rage out of control. It helps that they, like the playwright, quite likely understands Fola’s issues first-hand. They’re supported by a terrific technical team. Spencer Donovan’s simple Scenic Design has the ability to become a new setting with just a few fast shifts and changes. Satya Chavez has created a Sound Design that’s subtle, yet unobtrusively amps up the play’s tension. And Caitlin McCarthy has Designed Costumes that are both appropriate and natural to each character, but neutral enough not to detract.

 It also helps that Naumaan has an incredibly talented trio of actors, with whom to work. One of my favorite Chicago actresses, Stephanie Shum is terrific as Fola. With the same fervor that she displayed in REVOLUTION at A Red Orchid, in THE CRUCIBLE at Steppenwolf and MEN IN BOATS at American Theater Company, Ms. Shum is a volcano about to erupt. As a mistress of portraying anxiety-ridden individuals, her character’s strong ideals and principles have been seriously compromised. To borrow a familiar film quote, Fola is “mad as hell and she’s not going to take it anymore.”

Making her debut with First Floor Theater, Cynthia Marker is simply brilliant. I’m sure we’ve all known or at least met someone like Dean Ellen Healy. Ms. Marker, who has owned the stage in so many wonderful plays at Steep Theatre (BIRDLAND, MOSQUITOES, EARTHQUAKES IN LONDON), makes this crazy, condescending character absolutely realistic. It’s particularly fun to notice those subtle moments when Dean Healy’s plastic persona shows signs of cracking.

Another talented actress from Steep Theatre, Ashlyn Lozano has also worked with Chicago Shakespeare and Teatro Vista. I can’t praise Ms. Lozano’s performance in this production highly enough. Theatergoers are sure to think that two different actresses portray the characters of Sandra and Ms. Brite, due entirely to Ms. Lozano’s considerable talent. She portrays and completely inhabits these two very different women, and makes each character unique, realistic, detailed and multi-layered. Ashlyn’s Sandra is in the awkward position of having to support and be a “yes-ma’am” assistant to her boss, but she also has deep-seated and unexpressed opinions regarding Fola’s dilemma and concerns. As Ms. Brite, Ashlyn plays a smart, empathetic professional university employee who, as the Head of HR, is trying her best to remedy an aggressive situation and help two intelligent but contentious individuals.

Get ready to give a well-earned standing ovation to a production that totally deserves it. Sometimes it seems like our planet is a pressure cooker just waiting to explode. At least that’s what audiences will see, hear and feel while attending Omer Abbas Salem’s World Premiere, now playing at First Floor Theater. Filled with a number of contemporary concerns, this play is as timely as today. Beautifully directed, and performed by a superb cast, I strongly urge every theatergoer who enjoys experiencing plays that make them think and feel to hurry to the Den Theatre as soon as possible. You won’t regret it!  

Highly Recommended

Reviewed by Colin Douglas

Presented February 13-March 15 by First Floor Theater at the Den Theatre, 1331 N. Milwaukee Ave., Chicago.

Tickets are available in person at the Den Theatre box office, by calling 773-697-3830 or by going to boxoffice@thedentheatre.com. 

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