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.

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.

I’m a Believer

Shrek: The Musical

Musical Theatre has come a long way since “Oklahoma” and “Showboat.” In this “greatest fairy tale never told,” we find the story of an ugly, green ogre, who loudly burps, passes gas and roars at strangers. But in addition to being entertaining, the musical promotes the important theme that, although everyone is unique with different talents and strengths, we all deserve to be loved and respected. Shrek is more-or-less content with his life as an outcast. He lives alone in a swamp where no one ever bothers him because they’re scared. Then one day, Lord Farquaad, the evil ruler of Duloc, banishes all the fairy tale folks from his kingdom, simply because they’re different. The only place they can go is the swamp that Shrek calls home. And suddenly a two-act adventure begins about being different in our society. The story might remind theatergoers of the political climate in America today. 

Everyone Needs a Rose in Their Lives

The Golden Girls Save Xmas: A Lost Episodes Parody

Chicagoland’s favorite funny female quartet from television’s “The Golden Girls,” returns once again this year to make Christmas especially merry and bright. Audiences familiar with Hell in a Handbag drag productions will know what to expect and, I promise you, theatergoers will not be disappointed. But any adult, liberal-minded newbies to this creative company’s annual, brand new “Lost Episode Parody” will soon be adding Dorothy, Blanche, Rose, Sophia and their friends to their list of must-see annual holiday productions. For me, Christmas simply wouldn’t be Christmas without a visit to the traditional Goodman, American Blues, Joffrey and Hell in a Handbag Christmas confections. And besides the typical tomfoolery of their comedies, this year  David Cerda’s “Lost Episode” also offers a whole lot of heart.

Home At Last!

It’s a Wonderful Life: Live in Chicago!

American Blues Theater’s 22nd annual presentation of Frank Capra’s beloved Christmas classic is unique for a whole lot of reasons. But what makes this year’s production so special is that the popular and critically acclaimed theater company is finally home at last! ABT’s new, permanent venue is in Lincoln Square, at 5627 N Lincoln Avenue. In the past, the theater company has presented its professionally produced radio play production all over Chicago, including at the Theater on the Lake, Victory Gardens Biograph Theater, the Greenhouse Theater Center, Stage 773, the Chopin Theatre and, during the pandemic, virtually via Zoom. After much anticipation, this glorious, heartwarming story is finally at home in American Blues’ own space.  

Teeming With Twists and Turns

Dial M for Murder

Tony Wendice once achieved fame as a pro tennis champion. Then he tried his hand at writing, but when he failed in that endeavor he worked his way up to become the head of public relations for a London publishing firm. Yearning for a cushier life style, Wendice charmed and married lovely Margot, an heiress with a fortune. The two now live a very privileged life in one of London’s more fashionable neighborhoods. But while Tony is busy promoting the new novels of famous authors, Margot tries to occupy herself keeping house, shopping and volunteering at most of London’s major museums. But the young woman is bored with her life. 

Something To Shout About

Boop!

Boop-Oop-a-Doop! She’s here, at last, and it’s truly “Something to Shout About.” Betty Boop, that confident, strong-willed, yet sweetly sexy and likable young woman first appeared in black & white cartoons and short films, back in 1930. That was a very  different time. Hoover was in the White House, the Stock Market had crashed, thousands were out of work and America was in the middle of the Great Depression. But tremendous change was in the air. The 30’s was an era of contrasts: it was simultaneously a decade of traditionalism and modern experimentation; sentimentality blossomed that was contrasted by a new toughness; and there was a longing for our simpler past against the country’s dreams for the future. This was the world of Betty Boop and her animated friends.

A Christmas Tradition

The Nutcracker

What would the holidays be, especially in Chicago, without a visit to some of the spectacular entertainment events that have become a Christmas Tradition? Two of the must-see family productions during the holidays include the Goodman Theatre’s excellent “A Christmas Carol” and the Joffrey Ballet’s magnificent presentation of “The Nutcracker.” Performing once again at the opulent Lyric Opera House, this version of the iconic magical tale only gets greater and more grandiose with each production every year.

Kindness and Kinship on Kinnan

Islander

A young girl named Eilidh (AY-lee) wanders the Scottish coastline. She spends most of her days alone on the beach, because Eilidh is the only child left on the tiny, fictional island of Kinnan. Almost everyone else, including her own Mum, has relocated to the “Big Land,” the Scottish mainland. Eilidh cares for her Gran, a feisty old woman who enjoys joking and pranking her granddaughter. The school, the hospital and almost everything on the island have closed. Phone service and wifi is spotty, at best. There’s only one radio station on the island where the gossip and local news is shared. But Eilidh is all alone, until she chances upon a whale calf that’s tragically washed up on the shore. While trying to find someone to help the baby, the whale sadly sings to her before expiring. It’s a song that speaks of Eilidh’s kindness and a kinship between these two lost souls.

A Nutcracker Burlesque

The Buttcracker

No, this isn’t a misprint, and the Joffrey Ballet has nothing to do with this production. In the seventh edition of this popular adult entertainment, which has presented sold-out racy parodies of various holiday plays and musicals since its inception, returns with a saucy, sassy and sexy version of “The Nutcracker” ballet. This year the new production is being presented in the upstairs venue of the Greenhouse Theater, which includes a bar where theatergoers can purchase some liquid holiday cheer, both before the show and during the intermission. In fact, I recommend it.