Review: Punk Rock (Griffin Theatre)

Punk Rock  Written by Simon Stephens  Directed by Jonathan Berry  at Theater Wit, 1229 W. Belmont (map) thru March 4  |  tickets: $34   |  more info         Check for half-price tickets                        Read entire review

Disturbingly disappointing

Review by Lauren Whalen 

Teenagers are a fascinating bunch. The fresh experiences, physical and emotional changes and of course, the angst: it’s ripe for pop culture analysis. The complexities of this short-lived but never-forgotten time has been respectfully represented in a variety of media: the 2002 cult film “Donnie Darko”, John Hughes’ slew of 1980’s masterpieces and the Broadway musical Spring Awakening (very well done by Griffin Theatre Company last month – my review ★★★½) come to mind as recent examples. This is a long way of saying I really wanted to like Punk Rock, Griffin’s American premiere of Simon Stephens’ London hit. Instead, I left not only disappointed but insulted. There were a gaggle of teenagers in the audience, and I can only hope they got more out of it than I did.

Punk Rock chronicles a semester in the lives of a group of British high school students. Smart and popular Cissy (Jess Berry) is dating preppy Bennett (JJ Phillips), who – surprise, surprise – makes a sport out of bullying awkward Chadwick (Ryan Heindl) and criticizing the physical appearance of sweet Tanya (Leah Raidt). And when William (Joey deBettencourt) is spurned by new girl Lilly (Leah Karpel) in favor of golden boy Nicholas (Brandon Ruiter), his already problematic personal issues result in horrific violence.

Yes, Punk Rock ends violently: audience members who may be sensitive to such material should know that before purchasing tickets. I have no problem with violence in pop culture – if it serves a purpose and if I am invested in the buildup of character and plot development. (Lionel Shriver’s novel “We Need to Talk About Kevin”, the life story of a school shooter told from his mother’s perspective, was brilliant in this respect and hopefully the film version follows suit). Punk Rock has neither character nor plot development. The characters are shallow archetypes: of course the preppy boy is a sadistic bully who’s fighting his own internal turmoil. Of course his girlfriend’s the smartest and prettiest in the bunch. Of course the two type A’s never know quite what to say. Of course the new girl likes the cutest boy instead of the boy who’s been her friend all along. All of these types are introduced in a meandering opening scene – playwright Simon Stephens could have taken a cue from “Donnie Darko”, which introduces the majority of main characters and relationships in a nonverbal three-minute sequence – and never stray from their prescribed trajectories. And the events leading up to the end, particularly the perpetrator’s mental breakdown, just aren’t believable. It’s patronizing to the audience, not to mention disrespectful to those who have survived similar incidents, to tack on a violent ending in hopes of increasing dramatic tension and artistic value.

A few bright spots exist in this oddly named show (other than the incidental music, I could not figure out how “punk rock” fit into the play. The dated cultural references to Arnold Schwarzenegger, Thom Yorke and David Bowie were all the more confusing: with the exception of one plot element that’s never fully explained anyway, Punk Rock could easily have been set in the 1980’s or 1990’s when punk was more prevalent in the mainstream). Joe Schermoly’s set transforms Theater Wit into a British school common room with ease: the bookshelves and windows especially have a weighty, old-time feel common in educational institutions. As Lilly, Karpel’s twitchy mannerisms and halting delivery bring to mind a real teenage girl, as opposed to a twentysomething actress playing a high school student. Ditto Ruiter’s airy confidence and swagger: adorable yet cocky and therefore irresistible seventeen-year-old boy all the way. And Heindl’s takedown of his tormentor is so articulate and intelligent, I almost applauded.

A note on running time: a new trend in theatre seems to eschew intermission and run straight through the show. This is acceptable, even effective, in productions under 90 minutes. But I question the wisdom of Punk Rock’s nearly two-hour running time without intermission, giving the audience no time to breathe and to process the show’s intense subject matter. Live theatre is very different from film, as the players are sharing the same space and breathing the same air as the spectators. A little distance is often necessary, particularly when the material in question is heavy. In short: give the audience a break. Please.

Punk Rock continues through March 4th at Theater Wit, 1229 W. Belmont (map), with performances Thursdays-Saturdays at 7:30pm, Sundays at 3pm.  Tickets are $34, and are available by phone (773-975-8150) or online at TheaterWit.com (check for half-price tickets at Goldstar.com). More information at GriffinTheatre.com.  (Running time: a long 1 hour 55 minutes without an intermission)

All photos by Michael Brosilow 

artists

cast

Joey deBettencourt (William Carlisle), Leah Karpel (Lilly Cahill), JJ Phillips (Bennett Francis), Jess Berry (Cissy Franks), Brandon Ruiter (Nicholas Chatman), Leah Raidt (Tanya Gleason), Ryan Heindl (Chadwick Meade), Leah Uteg/Haley Olivia Noll (Lucy Francis), Jeff Duhigg (Dr. Harvey)

behind the scenes

Jonathan Berry (director); Nic Jones (lighting); Melanie Berner (costumes), Joe Schermoly (set); Christian Gero (sound); Jonathan Cody Anderson (stage manager); Michael Brosilow (photos)

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Tags: Brandon Ruiter, Christian Gero, Donnie Darko, Griffin Theatre, Haley Olivia Noll, Jeff Duhigg, Jess Berry, JJ Phillips, Joe Schermoly, Joey deBettencourt, Jonathan Berry, Jonathan Cody Anderson, Lauren Whalen, Leah Karpel, Leah Raidt, Leah Uteg, Melanie Berner, Michael Brosilow, Nic Jones, Ryan Heindl, Simon Stephens, Spring Awakening, Theater Wit

Category: 2012 Reviews, Griffin Theatre, Lauren Whalen, Theater Wit