Chicago Theatre Review
Moby-Dick at Building Stage
By Devlyn Camp
When you step onto the Building Stage to cross to your seat, you’ve stepped onto the Pequod and out to sea with six dueling Ishmaels that tell the tale of Moby Dick and Captain Ahab’s chase for revenge.
The boat is backed by a chalkboard where the facts are written out throughout the show. The audience is in a sort of Moby Dick School, following the story as obsessively as Ishmael studies his strange captain. Above the chalkboard, three percussionists and several drums represent the ocean in fantastic music by Kevin O’Donnell. Proven here, if ever the sea should be an instrument, it would be drums. The musicians are incredibly quick and talented, and their performance is half the fun of the show.
Each cast member portrays all the members of the ship, passing the character with the costume piece. The boats taken out to sea are miniature ships and waves are played by handkerchiefs. This show is high-scale backyard playing with much better acting, and it’s actually rather funny, too. The play is so fun and moving that the language of the novel is hardly noticeable. It’s absolutely captivating.
With the smart directing of Blake Montgomery, the beautiful set, and welcoming, warm people of The Building Stage, this revamp of their 2006 production is a wonderful must-see to put on your calendar immediately.
Also, have you seen their ad? It’s hilarious.
MOBY-DICK
The Building Stage
Now through October 30th
Tickets $22 (Students $12)
available at www.buildingstage.com
or call (312) 491-1369
Contact critic at devlynmc@yahoo.com
Seven Less-Than-Scary Stories at Pastime
By Devlyn Camp
Clock Productions at National Pastime Theater is currently presenting “Seven Scary Stories.” As the title here suggests, this work is far from scary. In fact, they’re barely “stories.” Just “seven” pieces. In an attempt at a Halloween show, the simple, dull script hardly communicates feelings of trepidation or anxiety. The costumes are cheap, the jokes are lame, and the acting is less than average. After a bit, one might think this is an attempt at some kind of camp, like The Evil Dead or Killer Klowns from Outer Space, but it’s somewhere lost in between comedy and drama. The actors’ gumption is, of course, half-baked as they push through such an unsuccessful script by David Denman. There are plot holes, unlearned lines, and frankly, a complete Young Frankenstein rip-off. There comes a point in production when an artist must look at their work, admit it’s not right, and head back to the drawing board. This is that moment.
SEVEN SCARY STORIES
National Pastime Theater
Now through October 31st
Tickets available at www.npt2.com
Contact critic at devlynmc@yahoo.com
The Amish Project at American Theatre Co.
By Devlyn Camp
Sadieh Rifai leads the one-woman show The Amish Project as seven different characters.
She enters in a side door, the outside light streaming ac
ross the blackened stage. She slides her apron on, ties her bonnet, and sets to work on the floor with a large piece of chalk. She’s a little girl drawing and explain her friends and family, the soon-to-be-traumatized victims of a non-fictional schoolhouse shooting from which the play is based. Her chalk childhood is juxtaposed against other characters’ adult issues.
Rifai changes characters so quickly and fluidly with assistance only from beautiful lighting changes. Her monologues are powerful and touching, even rather funny at parts. Various perspectives on the shooting that killed five girls open problems to Amish families that seem to wonder if secluding themselves could ever actually help avoid problems. The characters battle each other over their opinions of how to feel about the man that followed his urges, but also murdered the Amish girls.
Creepy and twisted, yet somehow spiritual, American Theatre Company’s production gets intellectual gears turning.
THE AMISH PROJECT
American Theatre Company
Now through October 23rd
Tickets $35, available at www.atcweb.org
Contact critic at devlynmc@yahoo.com
Burying Miss America at New Leaf Theatre
By Devlyn Camp
A world premiere, Burying Miss America is a one-act play about two siblings who attend the funeral of their mother, Nebraska’s Miss America.
The show is not about theatrics. In fact, it’s quite simple. The only lighting cue is at the top of the show when gorgeous lights brighten in the windows behind the casket. The rest of the set, the theater, is a normal funeral setting. The audience is seated around the sides of the room. I actually thought I had stumbled into a real funeral when entering the theater. The simple setting allows the play to focus on the story.
The beauty queen’s children are very plain, normal people. Her son, Boxer, is a trumpet player living in New York City, and her daughter, Jean, still lives in Nebraska raising her children. Their conversation examines their relationship with each other and with their mother, who may not have been the kindest woman when out of the spotlight. Boxer has returned home for the first time in a while to settle the will, but realizes he has other unsettled problems with his sister. Going home can be an experience that lifts a weight off one’s back, but can also open forgotten emotions.
New Leaf’s newest production is well written and well acted, and a recommended show to catch when you’re down in Lincoln Park.
BURYING MISS AMERICA
New Leaf Theatre
Now through October 29th
Tickets $15-25, available by calling (773) 980-6391
or at newleaftheatre.org
Contact critic at devlynmc@yahoo.com
Inaside and Cirqua Rivera unite for a night of “Constant Motion”
Dynamic dance collaboration by two groups to keep on your radar
Constant Motion
Inaside Chicago Dance and Cerqua Rivera Dance Theatre
Harris Theater, Chicago
September 24, 2011
Recommended
Review by Darcy Rose Coussens
Two different companies. Two mission statements. Two acts. One satisfying and heartening night of dancing at the Harris Theater. This weekend, Inaside Chicago Dance and Cerqua Rivera Dance Theatre had the opportunity to collaborate and perform at the Harris Theatre near Millennium Park in Chicago. Recognized as one of Chicago’s finest venues for dance performance, this space is usually out of the budget for these professional, not-for-profit companies. However, the MetLife Foundation has awarded a grant to Dance/USA to support New Stages for Dance pilot programs in Chicago, San Francisco, and for the third year in Philadelphia. Through these programs, the cost of venues such as the Harris is subsidized, allowing these companies more exposure.
The performance was a success, especially in that it promoted two companies with a lot to offer. The first act was made up of several different pieces by Inaside. The jazz dance company opened with an exciting swing number full of seamless partnering that will make you want to head out to the Green Mill and try some yourself. I didn’t feel a blast from the past, though– the four-part piece had a contemporary feel that Inaside maintained throughout the entire act. Their pieces varied in style, and they also allowed their youth ensemble to perform. I believe my younger self would have been motivated by both the company and the youth ensemble, because their styles were familiar enough to be accessible, while still experimental and artistic.
Inaside left me with an impression of sunshine between their bright dresses and music that could have been the soundtrack to a romantic comedy. Most importantly, they all smile! I found it extremely refreshing to see dancers enjoy themselves instead of being serious artists, and it certainly helped the audience enjoy them, as well. At times the choreography felt more fit for TV’s “So You Think You Can Dance” than the Harris, but I mostly found it to creatively make use of space and explore partnership.
The second act was Cerqua Rivera’s, and their first number snapped me to attention. Eddy Ocampo choreographed a riveting, political piece juxtaposing the concept of home with that of war. This included projections of children’s drawings of houses and photographs of child soldiers all over the world. These were accompanied by gunshots over the music and the dancers’ disturbing but impressive interpretation of play and self-exploration in a frightening setting.
Their opening number set a very high standard that took the show to an entirely new level, and they definitely lived up to it in all following pieces. A collaboration between acclaimed musician and composer Joe Cerqua and Artistic Director/choreographer Wilfredo Rivera, this company features an excellent nine-piece band with additional vocalists. The live music infused the performance with energy and a quality of style for each piece, and several fantastic soloists were featured. The company truly accomplishes the diversity and representation of different cultures they declare in their mission statement while allowing for beautiful choreography. In each number, however different the style, they establish a vocabulary of movement, which is important in creating the world of each piece. This is a company I would jump at the chance to see again.
Dance/USA’s New Stages for Dance programs are clearly a wonderful idea, and it is fortunate for Chicago that the MetLife Foundation is funding the exposure of groups like these. The numbers were somewhat brief, which allowed both companies to show off many styles of their repertoire and the audience to digest and really appreciate what they saw. It also gave the musicians of the second act their own moments, as they played interludes between each piece. The finale was comprised of both companies and included selected repetition from different numbers, which tied the show together nicely. Inaside and Cerqua Rivera are very different types of companies, but both made a great impression. Although perhaps not entirely polished, Inaside Dance Chicago’s budding youth and blossoming company achieved a delightful performance of varied jazz styles. Cerqua Rivera Dance Theatre is a company in full bloom, with outstanding dancers, choreographers, and musicians. This really was a night of constant motion, but it was also a night of beauty, humor, and a celebration of music and dance in all its styles.
“Elling” at Red Twist
by Devlyn Camp
If ever there’s a black box to be seated in, it’s the Red one.
Opening their season last Saturday, the Chicago-premiering play is moving and meaningful, yet so completely funny. Red Twist’s production of Elling is a stimulated, welcoming look into the unrested minds of two openhearted men.
Played by Jeff-winning Peter Oyloe and set designer/new Co-Artistic Director Andrew Jessop, two uneasy men in an institution, Kjell and Elling, are finally permitted to leave and restart their adult lives. Through their experience together, the audience sees the world from their perspectives of unknowing, realizing the oddness of everyday life.
Elling sends the two childlike adults through a quick birth into a new society where they learn that to act normal is to be normal. Following natural instinct isn’t what is always socially acceptable, which is proven by Kjell’s uncontrolled hyper-concern with sex. Oyloe’s body language perfectly reflects the perplexed nature of Kjell. He rocks and wanders, looking for the answers (and women, if he can figure out what exactly he’s supposed to say to them). Meanwhile, Elling is uptight and unable to leave his home, because why should one have a home if they want to leave it? He’s paranoid and unable to make decisions after relying on his mother for his entire life until her death.
The relationship that develops between the lonely friends speaks for how much we rely on others, and asks what might fill the void when the one we depend on is gone. Experiencing the world and learning how to operate among the unknown is a crucial piece to being alive.
As Chicago theatregoers know, the imagination prerequisite for black box theatre is a must-have to enjoy the experience, but Red Twist takes the small box further now with this production. The brilliant set designed by Andrew Jessop (also in the title role) imagines the one-bedroom apartment into nightclubs, a poet’s library, a cabin and a mental institution. Tables raise from the floor, the wall empties out beds, and kitchen appliances double as makeshift devices. The set is simple, yet remarkably crafty.
“Innovative” doesn’t begin to describe the level of box theatre creativity at Red Twist. They are proof that expensive, thousand-person spectacle shows don’t hold up for a moment next to great drama, originality and a small playbook of people who know how to get the job done.
ELLING
Red Twist Theatre
Now through October 30th
Thursday, Friday, Saturday at 7:30 PM
Sunday at 3:00 PM
Tickets $25-30, available at www.redtwist.org
Peter Oyloe and Andrew Jessop, photo courtesy Kim Schechter
Contact Devlyn Camp
“Spunk” Fiction
by Devlyn Camp
Court has a little more to offer than spunk tonight. They’ve got fearless voices, smart comedy, and a joyful presentation of life’s common struggles. Perhaps “spunk” really does cover it. Spunk is an adaptation of three short stories by Zora Neale Hurston. The show taps into its soul through musical numbers by Chic Street Man, and illuminates the characters of the Harlem Renaissance writer.
From the top, the “Folks” want their audience in on the fun. A guitarist (Kelvyn Bell, also the music director) enters, nonchalantly asking “How you doin’?” and opens the book to this fun little world. The Folks enter joyfully, narrating their own stories in a charming, comical fashion, painting Hurston’s pages out in animation.
The three short pieces illustrate struggles that are still relevant today. On the worn, wooden set, they tell a story that ultimately has one message: You reap what you sow. Along with being alive, each person must connect with karma and face their pain. Although however true this is, watching these six actors (and a wooden puppet), it hurts so good. The audience is butter in their frying pan, sizzling and melting into the smooth, thick vocals. The catchy bantering of “I’m Too Good Lookin’ For You” between the guitarist and the main narrator, Blues Speak Woman, causes the audience to have trouble hearing the music over the outrageous agreeing laughter. These quick accounts and peppy tunes prove that while there are the weeds of everyday life to pull, we can still enjoy ourselves, and grow into our own little place in the world.
SPUNK
Court Theatre
Now through October 9, 2011
Tickets $10-$50
Available at www.courttheatre.org
Kelvyn Bell and Alexis J. Rogers, photo courtesy Michael Brosilow
“This Is Our Youth” at 773
by Devlyn Camp
Columbia College proves its talent with Liminality Theatre’s production of This Is Our Youth at Stage 773. The entire cast – although only a cast of three – and most of the production staff graduated from the school, and the director himself teaches there. Brian Posen, also the Artistic Director of 773, directs a small play about three twenty-something Manhattan kids. They’re not exactly kids anymore, though, as they must come to face their issues with drug use and family disagreements. Warren (Patrick C. Whalen) is at a crossroads when kicked out of his wealthy father’s home and into the trashy abode of his drug-dealing friend. Dennis (Adam Welsh) is a stoned, stubborn, charge-ahead kind of guy, but only when he feels like it. Welsh enthusiastically sends him on fantastic rants of brilliant insults, ripping through the script with his comedic patter. The dialogue is so real and honest, even including awkward moments of “um” and “ya know”s and also the common “like” about three dozen times. These additions are very honest to how youth speak. The awkward romantic moments between Warren and Jessica (Teagan Walsh-Davis) are less than eloquent and so painfully real, you’ll find yourself thinking “Oh God, I say those things when I hit on a guy. It’s terrible.” It’s delightful.
Youth touches base on topics any down-on-their-luck artist would think about: Will I grow out of who I am? Does any of this really mean anything? As Warren skips around his money problems and drug dealing with Dennis, his comedic relief is brilliant and carries the show through tough issues in his life. He has a few touchy subjects that butt heads with Dennis and his vices to the point when we wonder how his drug “business” becomes less of pleasure and more of a burden. When does a user’s life turn from a nice high to a permanent rock bottom? The best thing to do could be to start over.
As this performance ended, the lights went down and we sat silently, until an old man and his wife in the front row clapped. There must be a message for everyone here.
THIS IS OUR YOUTH
Stage 773
Tickets $15
Just two more shows! September 23, 24 at 7:30 PM
Call 773-327-5252 or visit www.stage773.org
Here's the Thing: Go See "The Kid Thing"
THE KID THING
Chicago Dramatists
Now through October 16th
Thursday, Friday, Saturday at 8 PM
Sunday at 3 PM
Tickets $32, available at www.chicagodramatists.org
The clock is ticking at Chicago Dramatists. For one woman, it’s her maternal clock. For another, time is running out on her extracurricular secrets. At a dinner table for four, these women are catalyzed by the shocking news of their friends’ pregnancy announcement. In most other situations, the announcing couple would be overwhelmed by friends with rapture and party planning, but scene by scene, the relationships between these two lesbian couples are broken down and exposed.
Chicago Dramatists and About Face Theatre are collaborating for the first time to produce “The Kid Thing” by Sarah Gubbins. Even Steppenwolf had a hand in helping bring this story to the stage, proving that it can take a family of theaters
to raise a play. Gubbins is presenting a very specific issue in her play: lesbian couples who struggle with potential motherhood. KID confronts the problems with various adoption and surrogacy methods, which parent should carry the child, and also issues after a child’s birth, such as what each mother should be called. How does having one “mom” and one “mother” reflect on a child’s view of typical parent relationships? Outside of the issues same-sex couples have, the play discusses every woman’s concern with motherhood. Some women would rather live quietly with their partner, others practically hear the ticking clock when they pass by the baby food aisle.
Gubbins’s play is quick and so witty. There are several laugh-out-loud (or lol, as we say now) moments tied to extremely poignant thoughts. In its Chicago setting, it’s great to hear these women jive about the typical liberal lesbian’s addiction to Whole Foods fruits and Trader Joe’s trips. The scene-stealing Darcy (Kelli Simpkins) hits the nail on the head joke after joke. She is cutting, quick, and looks right at home wise-cracking with her friends in her man’s suit.
The Kid Thing exposes the real truth behind all relationships, and has intelligent thoughts to be understood for both straight and gay couples. The idea of perfection in love is foolish idealism. Life has too many curveballs to be able to run so simply. The only method of maintaining something close to perfection is being perfectly clear, openly transparent with a partner. Clarity is essential, and without it, misunderstandings divide a couple. Hoping, expecting, living on a prayer doesn’t create valuable results. Taking action for the tick ticking in your intuition does. But which action is the right one to take?
“Yellowman” at Stage 773
YELLOWMAN
Stage 773
Now through October 9th
Thursday, Friday, Saturday at 8 PM
Sunday at 2 PM
Tickets $15-$25 at www.Stage773.com
or by phone at 773.327.5252 or at the box office
Greene Tree Productions is currently presenting their latest show at the in-transition Stage 773. “Yellowman” is a two person piece with alternating short monologues telling the intertwined stories of Alma and and her boyfriend. Alma is a large, dark-skinned woman who is faced with hateful treatment by lighter-skinned African Americans. She grows up with her friend, later boyfriend, Eugene whose skin is “yellow, like butter.” Their relationship is criticized throughout their youth in South Carolina, until Alma decides to make a change.
Alma is played by Emmy Award-winning actress Deanna K. Reed. She’s the life of the show, with her whimsical giggles and impressions. J. Israel Greene, playing opposite Reed, falls a bit short. During some of his longer monologues, attention seems to be held at bay for Reed to return. Not all blame can be left to him, though. The play, although telling an important story, is told in a dull fashion. The separate, side-by-side perspectives are intriguing, but the tale moves quite slow and lacks much action until the second act. The set is also quite simple, to match the story, although very charming with its glittering glass bottles spread under the wooden platform. Maybe not the most exciting choice for a night out, but “Yellowman” is unique, speaking about a frequently overlooked prejudice, and is, as mentioned before, also very charming.
Stage 773 is unveiling their $1.5 million renovation at their grand opening celebration Sunday, October 16 at 7 PM.
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