Category: Theatre Festival
It’s here – the Chicago Sketch Comedy Fest! (Stage 773)
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Chicago Sketch Fest at Stage 773, 1225 W. Belmont (map) |
Goodman Theatre’s New Stages: Ask Aunt Susan
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Ask Aunt Susan Written by Seth Bockley Check for half-price tickets |
Steppenwolf Theatre’s First Look Repertory: Want
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Want Written by Zayd Dohrn Check for half-price tickets |
Chicago Fringe Festival schedule announced
Tickets are on sale for the Second Annual Fringe Festival, September 1-11, including such groups as Maximum Verbosity, Phil the Void and Hobo Junction. These are not the names of race horses or yachts. They are three of the 50 performance groups that will entertain, inspire and delight audiences during the second annual Chicago Fringe Festival, taking place September 1st through 11th in the Pilsen neighborhood.
The year’s theme, On the Map, Under the Radar, expresses that Chicago Fringe has carved out a strong identity as part of the worldwide Fringe theatre movement, yet remains committed to flying under the radar, offering audiences uncensored, unconventional theatrical experiences.
Entire schedule: http://tinyurl.com/2011fringe
More information: http://www.chicagofringe.org/
Sketchbook: Evolution (Collaboraction)
Some hits, some misses, lots of fun
| Collaboraction presents |
| Sketchbook: Evolution |
| through June 25 | more info |
Reviewed by Keith Ecker and K.D. Hopkins
Another year means another Sketchbook. This installment’s theme is Evolution, and, as usual, some plays used this theme as a launch pad while others appeared to completely ignore it altogether. It’s difficult to encapsulate the whole of Sketchbook. I consider the offbeat and eclectic theatrical event produced by Collaboraction a success, if only for bringing so much of the Chicago theatre community together for a festival of new and experimental works. What results is not always the height of performance art, but there are always a few gems that make a viewing worthwhile.
Below, myself (Keith Ecker) and fellow critic K.D. Hopkins have divvied up review duties. Here we describe both the good and the bad and the good enough.
| Termination of a Species |
| By Ken Urban Directed by Scott Illingworth |
| An unwitting man discovers he and the rest of the world’s population have been under the scientific watch of an extraterrestrial. But due to the discrepancies in perception of time (the alien, who can live billions of years, sees time pass much more quickly), the experiment is deemed a failure since the observer cannot keep up with the evolution of Earth life. Thus, he has decided to abort the mission and destroy all life on Earth. The sci-fi time relativity element is a neat little device, but it’s not used to full effect. Instead, we end up getting a melodramatic end-of-the-world rant from the man’s wife that is laughable more than it is haunting. The play culminates with audience plants gasping for air and then hunching over in mock death. However, it’s too subtle to be effective. In fact, I found myself moving to let one of the heaving performers pass by, mistaking them for an overheated patron (the air conditioning in the Chopin Theater was not working the night of the performance). Overall, the piece is little more than a clever premise. | |
| I and my iPhone |
| Written by Mat Smart Directed by Steve Wilson |
 This cutesy sketch features children and teens from Red Orchid’s Youth Ensemble. The short and repetitive piece is about a teenage girl who becomes the focus of an intervention after she displays an unhealthy addiction to her iPhone. Her sisters and best friends encircle her, explaining the hurt that her uncontrollable desires to text have caused them. The entire piece hinges on the ability for young children to be cute. That’s not all bad. Cute children are extremely engaging. But the preachy piece reads like an anti-texting public service announcement. There’s little characterization and heart in the work. It’s just a one-note joke that doesn’t even attempt to move much beyond the punchline. These children unquestionably have talent. I would rather see that talent put to good use rather than squandered on a hokey bit. |
| The Parasite |
| Written by Lauren Yee Directed by Sandra Marquez Featuring: Ilana Faust, Yadira Correa, Sam Quinn |
 In this romantic and funny piece of absurdist theatre, a woman becomes the host for a parasitic bot fly. According to the play, a bot fly implants its egg in a mosquito which in turn implants the egg into the flesh of a mammalian host. The woman enjoys the company of the parasite, who is portrayed as a fiery guitar-slinging Costa Rican. A friend desperately tries to convince the woman that the blood sucker is no good for her. But the woman refuses to listen, too in love and too easily wooed by the sugary sweet words of the bot fly. Directed by Sandra Marquez, the piece is visually engaging, cleverly using a plastic umbilical cord to represent the actual and metaphysical connection between parasite and host. The acting is excellent, too, with Sam Quinn stealing the scene as the bot fly. Even though Sketchbook’s "Evolution" theme seemed to be an afterthought with this piece, it is one of the most engaging of the festival. |
| Dead Letters |
| Written by Danielle Littman Directed by Nathan Green Featuring: John Fenner Mays |
 Bad poetry and bad theatre have a lot in common. They both have a way of appearing important, but when parsed, are revealed to have said very little, or at least very little of anything revelatory. Dead Letters is bad theater. It is pompous, loud and trite. A postman prattles on about mailing the last tangible letter. He longs for the days before electronic communications made transmitting our thoughts an instantaneous action. He describes how we used to digest our words, mulling them over before taking action to correspond. Many before have bemoaned modern forms of communication and done a much more convincing job. The writing with this piece is atrocious. The self-importance and pretension is something only the playwright could love. There is imagery in the postman’s speech that will make logophiles cringe. However, John Fenner Mays’ performance as the post officer is commendable as he tries painstakingly hard to turn nothing into something. |
| Only Paradise |
| Written by Kristin Idaszak Directed by Bea Bosco Featuring: Jordan Lane Shappell, Teeny LaMothe |
 A predictable and tired premise makes this one of the more forgettable pieces in this year’s Sketchbook. A man sits in an airport awaiting his flight. He strikes up a conversation with a young woman who goes on about the afterlife. If you haven’t already guessed that we aren’t really in an airport, then you need to study up on your death metaphor cliches. Despite the tremendously overused premise of airport as passageway to the afterlife, the sketch is decently entertaining. There’s very little in the way of character and relationships. Instead, it’s really just a playwright thinking out loud in the form of two character vessels. Still, the afterlife, paradise and happiness will forever be engaging topics, if only for their elusiveness. |
| The Franchise |
| Written by Andy Grigg Directed by John Wilson |
 When it comes to the bite-size morsels that Sketchbook dishes out, the comedic tend to satisfy more consistently than the dramatic. That is certainly the case with The Franchise, one of the funniest laugh-out-loud pieces in this year’s festival. We see multiple iterations of a typical action-adventure hero movie called "Blazing Hearts" about a fireman who dutifully (you guessed it) puts out fires. Action-adventure staples such as vapid one-liners and the distressed female love interest are included, raising the comedic effect. We watch as the film’s franchise jumps the shark, taking what may have been a decent original and warping it into a moneymaking cash cow. Eventually, in meta fashion, the film’s characters become tired of their repetitive and seemingly implausible lives, creating a clever commentary not just on the unimaginative film industry but also on the unintended selfishness that sometimes accompanies fervent heroism. |
| Backbone |
| Devised by Marc Frost Featuring: Alice Decunha |
| In keeping with the theme of evolution Frost and Decunha delve into the primordial ooze and come up with a sexy and provocative sketch. Ms. DeCunha narrates from a desk about the development of mankind from the ocean to upright stance and modern consciousness. The question becomes how far have we really evolved or how much of the savage have we retained. Mr. Frost is a master of body movement. I previously saw him in Viaduct’s "War and Peace" where he demonstrated sharp comic timing as well as deft and graceful movement. "Backbone" breaks down the pretense that humans have any separation based on sex or ethnicity. The sparse setting and eerie music accentuate Frost’s every muscle movement as the character struggles to stand upright. The challenges of the territorial imperative and survival of the species are on humorous and sexy display. There is perfect chemistry between Frost and DeCunha as her voice increasingly intertwines with his movements. At the penultimate portion where Mr. Frost is attired in the corporate uniform of a suit jacket, Ms. DeCunha takes off her corporate rags and leaves the stage. It all goes back to primitive as Frost literally goes ape sniffing the jacket and scuttling after her. While there is nothing new being said in "Backbone", the interpretation is enchanting while maintaining the visceral and bas components of mankind’s survival. |
| It Came From The Third Dimension |
| Featuring: Zoe Schwartz, Dav Yendler, Kieran Kredell, Matt Rudy, Aaron Weissman, Kasey Foster, and Carly Ciarrocchi |
| This is my favorite of all of the sketches featured on the night I went. It is a hilarious spoof of 1950′s schlock films and a skewer of the science fiction fears and mentality of that era. Two mad scientists (are there any other kind?) are portrayed by the actors with cardboard puppets attached to their bodies. They are brewing something in the laboratory that will shock and amaze the world. If you get the chance, check out some of the films from the 50′s which was an uptight time in America, and you can see all of the fears displayed on the screen. How far would science go and would those same scientists be able to protect the nation from experiments gone horribly wrong? The fun is in the paranoia and goofy special effects. The scientists are attired in long lab coats and horn rimmed glasses. The creature that emerges is possibly part owl and part dragon. It recalls "Attack of the Killer Shrews" and I laughed until my side hurt. The audience was given 3D glasses to view the action and there were some kitschy special effects to enchant and amuse. When I looked around the audience, we all looked like a scene from a documentary on the 50′s in America. "It Came From The Third Dimension" is worthy of schlock master Ed Wood and a most enjoyable sketch. I could see this one expanded into a full play if they can maintain the cheeky sense of humor and great satire. This was the highlight of the evening. |
| Suspect Politic |
| Featuring: Meida McNeal, Felicia Holman, and Abra Johnson |
| I quite enjoyed this sketch for its honesty and brazen skewering of the roles that Black women have been relegated to in the entertainment industry. The trio of actresses alternately circle a detainee sitting on a chair with quotes from Black characters in the movies. Black women are always the sassy best friend, the downtrodden and abused servant, the strong character, and above all-the angry Black woman. This sketch is whip smart and well paced. Almost all of the offenders are featured here. The trembling character from "The Color Purple" cursing the offender for all of his horrible deeds drew a laugh of recognition. The self hating Negro passing for White from "Pinky" was probably less well known but was an excellent choice. I was quite impressed with the blatant and non-varnished truth of this sketch. The women featured gave spot on performances without any of the treacle and self consciousness that I have seen in similar treatments of this subject. This is a subject that a lot of people would love to eavesdrop on and here is the chance. I have been asked similarly ridiculous questions about being a Black woman couched in the relative safety of a film character. The fact that the Black woman is still considered an enigma in entertainment and someone to be treated as a curiosity goes back to Hottentot Venus at the Columbian Exposition. Sure, some women are exotic, angry, vengeful, strong, and yes the sassy best friend. This sketch illustrates that those qualities have become a societal mold expected and acceptable on the stage, screen, and in literature. Someone came up to my companion after the show and congratulated her on a fine job in this sketch. She wasn’t in the sketch and didn’t look remotely like anyone in the show except being Black. Seriously? There is the answer to why this subject needs to be kept on the burner. |
| Evolution |
| Featuring: Peter Sipla and Sean Ewert |
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The Playwright Strikes Back! This sketch is the story of Pulitzer nominated playwright Kristoffer Diaz and his war of the words with New York Times critic Charles Isherwood. The play in question is "The Elaborate Entrance of Chad Deity" a story of modern televised wrestling. While I have not seen Mr. Diaz’ play, his battle with Mr. Isherwood is understandable. The Diaz character in this sketch is played as the cool hipster playwright who is on an upward trajectory. The Pulitzer nomination and an excellent review from another NYT critic Ben Brantley. Diaz delivers his argument that Isherwood was wrong and illustrating the critic’s well known stuffy and pedantic style. Having not seen the play in question, I was amused by the smooth way that Diaz expressed his anger and impressed that he would take on Isherwood. The highlight of the sketch is when the characterization of Isherwood pops up from the audience and was seated next to me. Sean Ewert does a funny take on the critic as an uptight, bitter, and possibly repressed playwright. The exchange between the two is sharp and well written as well as acknowledging that they will never agree. The sketch took a weird turn by pulling two women from the audience to decide how the dispute would be settled. Two rather giggly hipster chicks were chosen and given a choice of scenarios including I believe a punch in the kisser for Isherwood. The girls were given a time limit but giggled and whispered to one another gong over the time. I know that I am middle aged an no longer prone to girlish behavior but I found them annoying. They finally settled on the characters of Diaz and Isherwood sharing a kiss which was a surprising and funny choice. It goes to prove that it’s a mixed bag when there is a war of the intellects such as this. Overall it was enjoyable in spite of the impromptu casting. |
The night that I attended, there was live music courtesy of the brilliant Fareed Haque and MathGames. It was an unexpected treat to have them open the show with a trippy blend of jazz and electronica. The brick wall behind them served as a projection screen with a kaleidoscope of Whirling Dervishes, numbers, and frequency blips. All of this combined for an enjoyable and stimulating evening of theater. Overall-an excellent collaboration from Collaboraction.
Cast photos by Candice Conner, Oomphotography.com
Review: Where We’re Born (Steppenwolf Theatre)
An unforgettable, poignant dramedy
| Steppenwolf Theatre presents |
| Where We’re Born |
| Written by Lucy Thurber Directed by Brad Akin at Steppenwolf Garage Theatre, 1650 N. Halsted (map) through June 18 | tickets: $20 | more info |
Reviewed by Katy Walsh
A college student returns home on break. Beers, shots, joints: life is exactly how she left it. The escape to the comfortably familiar lulls her into trying something new. But once you disturb the balance, can you ever come home again? Steppenwolf Theatre, in collaboration with Northwestern University MFA’s programs, presents NEXT UP, a theatrical project that showcases direction and design of NU graduates performed by professional actors. Where We’re Born is one of three plays in repertory.
Tony has always been there for Lilly. He’s been her protector from classmates, her mother and her mother’s string of loser boyfriends. Despite their ambitious differences and geographic distance, the cousins still have a strong bond. They have no secrets. Lilly goes to college, Tony goes to work. When Lilly revisits Tony’s world of drunken drudgery, she is welcomed home by his friends. Their daily shtick parties on without interruption. As the music blares them all into a hazy high, an unexpected hook-up derails the locals’ routine. Sex and secrets redefine home forever. Where We’re Born has small town simplicity with residential complications.
Playwright Lucy Thurber, scenic designer Scott Davis and director Brad Akin plop the audience into an established blue-collar world. Thurber skillfully creates character camaraderie with inside jokes and easy, unimportant banter. Davis masterfully builds the home environment. Within the theatre set in the round, Davis constructs a home inside and out. Living room, bedroom, kitchen, bathroom and front yard, it’s all there with functional lighting, discarded beer bottles and a layer of filth. Akin expertly stages simultaneous scenes within the wall-less confines. Outside, people are shooting the shit. Inside, a couple is sneaking in a quickie. With Akin, there is no hiding the emotion. It’s visible at every angle. Aided by fight choreographer Matt Engle, Akin transitions home from playfully hang-out to house of pain.
Akin pivots the talented cast around in perfectly boozy avoidance. The friends are recognizable twenty-somethings stuck in dead-end lives. A hardened Audrey Francis (Franky) delightfully perks up from her doldrums. When Francis secretly flirts, her whole being radiates lively hope.
Playing an intoxicating tool, Shane Kenyon (Tony) rages with a scary intensity. Caroline Neff (Lilly) is a hot mess of emotions. Jealous, lustful, desperate, miserable, Neff gives a passionate performance. Watching the drama from the sidelines, Max Lesser (Drew) and Tim Musachio (Vin) are hilarious good buddies. The party ambiance authentically spirals from comfortable to angst with substance.
Where We’re Born is set in a familiar state. It’s any Hometown, USA. Childhood chums destined to live a lifetime in repetitive motion. It’s a heartbreaking story of the one who got away. Where We’re Born is an unforgettable poignant dramedy.
| Rating: ★★★ |
Running time: Two hours includes an intermission. All photos by Michael Brosilow.
2011 Theater on the Lake Festival
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Boho Theatre’s Big River |
2011 Theater on the Lake Festival Guide
at Theater on the Lake
2401 N. Lake Shore Drive
by Jason Rost
It’s that time again: Chicago theater’s way of letting us know summer has officially arrived. It’s the theatrical equivalent in Chicago to the Cubs/Sox series. Here comes the Theater on the Lake festival! Chicago area non-equity productions are handpicked to take the open-air stage in Lincoln Park. It’s an opportunity to see 8 shows in 8 weeks, many of which were highlights of the past season. Of course, with street festivals, concerts, and BBQ who has time to make it to all 8 shows? Here are my picks for what not to miss:
All performances begin at 7:30 pm, Wednesday through Saturday, and at 6:30 pm on Sunday.
The Improvised Shakespeare Company, 
Best Bet
June 15th – June 19th
| Prepare to be astounded! Due to popular demand, the long running Improvised Shakespeare Company will spin a tale worthy of the Bard on the shores of Lake Michigan. Still enjoying sold out crowds every Friday night at iO, this troop excels at not only creating an improvised play based on an audience suggestion (last Friday night I took in a side-splitting rendition of “The Merry Wives of Orange County"), but they also use Shakespearean lingo, structure and references. Oh, and it’s definitely the most laughs on the lake this summer. | |
A Doll’s House, Infamous Commonwealth Theatre Company (our review)
June 22nd – June 26th
| This Infamous Commonwealth production directed by Chris Maher takes the classic Henrik Ibsen play out of 19th century Norway and sets it in 1962 New York. While the concept plays out visually in its ‘Mad Men’ style aesthetic, it doesn’t tie to the themes of the play and ultimately the casting bogs down this retelling. | |
Dental Society Midwinter Meeting, At Play Productions and Chicago Dramatists June 29th – July 3rd (our review)
| Finally a play for dentists! Chicago Dramatists presented this new play by Laura Jacqmin last summer. The story is a collection of fictional accounts all taking place at an actual event, The Chicago Dental Society Conference. Adultery, blackmail and scandal are at the center of this impressive display of the dental subculture. | |
Letters Home, Griffin Theatre Company
July 6th – July 10th
| The Afghanistan and Iraq wars are brought to life through actual letters written by soldiers serving in the Middle East. The Griffin Theatre production is inspired by The New York Times article "The Things They Wrote;" subsequent HBO documentary Last Letters Home; and letters and correspondences from Frank Schaeffer’s books Letters Home From America’s Military Family, Faith of Our Sons and Keeping Faith. The play gives audiences a powerful portrait of the soldier experience in our ongoing wars. | |
After the Fall, Eclipse Theatre Company (our review)Best Bet
July 13th – July 17th
| Say goodbye to Norma Jean with Arthur Miller’s semi-autobiographical account of his tumultuous relationship with Marilyn Monroe. This is a perfect outing for some mid-summer drama. Marilyn’s drug addiction spirals downward alongside the country entering the era of McCarthyism. But instead of Arthur and Marilyn, let’s call them Quentin and Louise. Director Steve Scott hits all the right notes of pain, sex and confrontation in this charged Eclipse Theatre Company production. | |
1001, Collaboraction (our review)Best Bet
July 20th – July 24th
| Based on the stories of “The Arabian Nights”, Jason Grote’s mash-up up of politics, humor, relationships and philosophy is an invigorating epic. The brilliant direction by Seth Bockley commands a quick-fired pace from his talented cast. Set amidst the backdrop of anti-Arab sentiments in Manhattan, Scheherazade’s tales are intertwined with the story of an Arab Jewish interracial relationship amidst a visual buffet of references from Osama bin Laden to Michael Jackson. | |
Big River: The Adventures of Huckleberry Finn Best Bet
Bohemian Theatre Ensemble, July 27th – July 31st (our review)
| Here you get another chance to catch the Jeff award winner for Best Principal Actor in a Musical, Andrew Mueller. Big River is one of the most successful dramatizations of the classic Mark Twain novel, “The Adventures of Huckleberry Finn".” This Tony award winning musical received a heartfelt revival from BoHo this year under the direction of P. Marston Sullivan. The country music score by Roger Miller will have you stompin’ your feet under the open sky. | |
Sweet and Hot: The Songs of Harold Arlen, Theo Ubique (our review)
August 3rd – August 7th
| Going out with a Theo Ubique musical revue is a pretty wise choice by the Theater on the Lake organizers. This one is full delight as they take on the songbook of Harold Arlen, most famous for penning sons to “The Wizard of Oz.” Add that to songs such as “I’ve Got the World on a String” and “Stormy Weather” and you’ve got a lovely evening. This revue may not play as intimate in the open-air space as it did in their tinderbox cabaret, but if nothing else David Heimann’s choreography and Fred Anzevino’s directing will project this ditty-packed show somewhere “Over the Rainbow.” | |
Ticket Information: Subscribers may purchase a season pass for $110 and see each performance each week. Subscriptions are available May 1 through June 1st OR Individual tickets may be purchased for each performance for $17.50. The Box Office opens for single ticket sales, June 7 at 2:00 pm. Box Office: (312) 742-7994. Beginning June 7 at 2:00 pm, Box Office hours are Tuesday – Saturday, 2:00 – 8:00 pm, Sunday, 3:30 – 7:30 pm. Closed Monday.
Getting There: Theater on the Lake is located at Fullerton Avenue and Lake Michigan in Lincoln Park.
Getting there Green: Walk or bike along Chicago’s lakefront path directly to our front door. Not only will you BE green, but you’ll also SAVE some green!
By car: Pay parking is available at the Lincoln Park Zoo, located at Fullerton Avenue and Cannon Drive. Metered parking is sometimes available along Cannon Drive.
By bus: CTA bus routes 151 or 156 both serve the area.
Review: Chicago One-Minute Play Festival (Victory Gardens)
New Festival Showcases Short Works by Local Artists, Sampler-style
by Dan Jakes and Oliver Sava
This May 15-16, Victory Gardens premiered Chicago’s first One-Minute Play Festival (OMPF), a benefit event that featured bite-sized works by an eclectic mix of prominent and upcoming local theater artists. Creator and “curator” Dominic D’Andrea originally debuted the series in New York in 2007, where it has since grown to San Francisco and Los Angeles . For its first ever stop in the Midwest, considering the event’s magnitude–50 playwrights, 10 directors, and nearly 60 actors–this year’s showcase demonstrated promising potential for an exciting annual Chicago theater institution.
That is, if it finds a stronger footing. Micro-plays are nothing new, especially in the Windy City, long-time home to the Neo-Futurists’ Too Much Light and Second City; one set the bar for two-minute plays, and the other made one-joke flash bits a sketch trademark. D’Andrea and producer Will Rogers’ OMPF also rides off the larger 10-minute play trend. Their efforts to boil down theater even further, though, prove to be fruitful–sometimes even enlightening. Below is a list of the night’s highlights.
Paper Airplane, Aaron Carter
| The finest piece in the festival. A young boy expresses his anguish over his father’s looming death while tossing folded paper planes across the stage. His ability to speak is limited to the papers’ flight, leaving him choked and frustrated with each audible crash landing. In less than a minute, Carter encapsulates the panic of grief, and animates the cruel handicap children endure to express pain. Those planes approached visual poetry. |
Two Vegans, Robert Tenges
| A couple engaged in love making–some of it hilariously acrobatic–get their kink on by dirty-talking their favorite (or to cool things off, least favorite: (“raw kale…raw kale!”) foods. At first, it’s funny nonsense. Then, after you uncomfortably internalize your own link between taste/sexual satisfaction, it’s hysterical. |
A Play, Kristoffer Diaz
| You’re the hero in this monologue. The audience member to your right is the protagonist. Your left, the antagonist. Diaz’s simple, straight-forward instructions don’t feel like a gimmick. His inconclusive end ponders some sophisticated ideas about the broader implications of storytelling, ones that resonate long after the play’s 60 seconds are up. |
The Last Walk, Lisa Dillman
| Sad pets are an easy go-to for emotional impact…but that doesn’t make using them any less effective. A dog reminisces about the good days with her very recently deceased owner. Confused, she brushes up against his dead body for affection…and if you don’t cry a little at the thought of that, then you’re a monster. Only a few high-pitched “aw’s” were heard in the house during an otherwise hushed fade-to-black. |
Inequity, Jake Minton
| Penis envy comes early for two little boys (played by full-grown adults, of course) in a school bathroom: One stands proud, pants down and bare-butted at a urinal, while the other sits devastated, hiding his…well, you know. Minton makes a nice little joke about men’s biggest insecurity. |
Haiku Fight, Caitlin Montanye Parrish
| A couple hashes out an argument by having a refereed 8 Mile-style slam, with Japanese poetry filling in for hip-hop. It’s a simple, wonderfully clever juxtaposition of the writing form’s serenity versus the needling aggravation of a relationship fight. |
This Just In, Stephen Louis Grush
| Liberal sensibilities about prejudice get turned over on their heads when one easily dismissible stereotype gets paired with one that’s equally unfair, but–for many viewers–may hit a little closer to home. Those might sound like the makings for a didactic issues play. With the right amounts of humor and levity here, they aren’t. |
Bag Thief, Laura Jacqmin
| A mix-up at an airport luggage carousel leads to suspicion and accusations. Jacqmin doesn’t quite know how to end her play–what she settles for lets the air out of its balloon and betrays her otherwise solid work. Up until the final seconds, though, it’s fun stuff watching two men calmly navigate each other’s logic and contemplate one another’s mind games. |
Blackout, Chisa Hutchinson
| As the name suggests, Hutchinson’s play takes place with the house and stage lights off. Her monologue discusses nyctophobia (fear of darkness) in friendly, clinical terms. Once she starts in about the ghastly things you could be imagining, it’s hard not to nervously giggle and realize you’re an adult who’s once again–briefly–afraid of the dark. |
In Not Our Finest Hour, Andrew Hinderaker
| You can spot a gag coming within the first few seconds of this context-free comedy. A line of actors take a swig from a water bottle and pass it on. Anticipation builds; titters slip. The fact that the punch line is exactly what you’d expect compounds the simple humor in this satisfying, straightforward piece. |
Wisconsin, Andrew Hinderaker
| Anyone who’s experienced the unique isolation of a rural Midwest winter can attest to the truth and melancholy spoken in this eloquent monologue. A young man describes a blackened hand rising out of the snow. Hinderaker’s vivid image is striking on conflicting levels–it’s unsettling, somber, and in its own way, serene. |
Free, Zayd Dohrn
| A United States Marine quietly bemoans the chaos of modern war and rejects America’s authoritative façade. His speech is upsetting for all the obvious reasons, and for some less common: notably, the futility of humanitarian efforts and the false hope instilled by the military’s hierarchy. |
A Short Story, Emily Schwartz
| A narrator gives up on his own story, much to the protagonist’s chagrin. Schwartz’s non-story leaves the nameless hero waiting and frustrated as the nonchalant storyteller signs off on her would-be adventure. Smart, funny metatheater. |
Love Play for Two Chairs, Seth Bockley
| When you think about chairs having sex (though in any other context, why would you?) the word “whimsical” probably doesn’t come to mind. And yet, like an x-rated Fantasia, Bockley and director Jeffrey Stanton achieve just that. Annoyed by the noise of his enchanted furniture getting it on, an apartment owner sets out to end his two chairs’ tryst. His solution is delightfully absurd–the fact that it’s irresistibly adorable makes matters even stranger. |
Unsolicited Advice for Next Year’s Fest
Now that the One-Minute Play Festival has taken its first entertaining, successful baby steps in Chicago, here’s what we at we’d would like to see from the show in its future incarnations…
A Greater Assortment of Styles:
Only a few plays in 2011 were noteworthy for really bucking traditional conventions. The message in Gloria Bond Clunie’s Falling about resilience in the face of natural disasters, for instance, wasn’t particularly moving or inspired, but her play stood out from its peers for its striking use of projections and puppetry. That left us with a question: How can the other works of 50 unique artists have looked so homogeneous? Talking animals, inner-monologues, contentless scenes and gripes about public transit bore the brunt of too many shows. No movement pieces? No one-minute musicals? Festival organizers take pride in the lack of dictated thematic guidelines for the playwrights (as they should). Still, there has to be a way to commission a more diverse body of work.
Super-titles:
Many of the short plays benefited from having the names of the shows known; some even took on new light. Dimmed houselights and tiny program font made seeing them impractical–unless you were really straining, you had to do without. An inexpensive or creative way to integrate the show names could further enrich the work.
Clear Intent Behind Curation:
Was there or was there not an intended arc to the evening? We couldn’t tell. Directors took on about 10 plays each, and their pieces were presented together in ten unique “clumps.” The order that clumps were presented in and the plays within them, though, did not have an obvious flow. Perhaps one wasn’t intended–regardless, having one might keep the night as a whole engaging.
The Chicago One-Minute Play Festival is produced as a benefit for Victory Gardens Fresh Squeezed, their alternative programming and audience engagement initiative. With a shared mission, both Fresh Squeezed and the festival aim to represent a wide and diverse range of playwrights, actors, and directors working in the great city of Chicago.
Reviewers: Dan Jakes and Oliver Sava
Review: 6th Annual Chaos Festival (Point of Contention)
Where ten writers write ten plays actualized by ten directors
| Point of Contention Theatre presents |
| The Sixth Annual Chaos Festival |
| at Lincoln Square Theatre, 4754 N. Leavitt (map) through April 6 | tickets: $15 | more info |
Reviewed by Katy Walsh
Lovers, killers, single-cell organisms, survival is dependent on embracing the chaos. Point of Contention Theatre Company presents The Sixth Annual Chaos Festival. Ten writers wrote ten plays actualized by ten directors. The cluster of ten minute shows is a showcase sampling of new work. It’s something for everyone on the all-you-can-eat-buffet. The morsel nibbling allows for tasting a variety of a la carte offerings without getting stuck with a dissatisfying main entree. For the curious palate, it’s a series of one bite wonders. If it’s sweet, there is the next daily special by the actors, writer, or director to crave. If the recipe is bland, a future spicier version could bring out the flavor.
Second Helping, Please
Three of the shows were unique, lip-smacking, gourmet surprises. Minutiae written by Barry Eitel, is an evolutionary exploration of scientific wit. Under the direction of Rachel Staelens, Nicci Schumacher and Rafael Torres spar in a lively, rambunctious survival of relevance. The Four Senses of Love written by Arthur M. Jolly is a hilarious coupling of two members of a sensory-deprived support group. Under the direction of Brandon Boler, individually and collectively, Jonathan Helvey and Lisa Cordileone sarcastically work through their affliction with no senses. Wet Work written by Jenny Seidelman is an intriguing, comedic encounter between two very opposite men. Under the direction of Brandon Baisden, Ray Ready plays it perky, irritant to an established, smoldering Joshua Volkers. The odd duo captivates to an unexpected conclusion.
Can’t Make Out the Taste, But I Like it
Two of the shows aroused with a lingering aftertaste. Jib and The Big Still written by Elizabeth Birkenmeir is a guy zoning out to avoid the chaos around him. Under the direction of Michael Wagman, David Holcombe, Jaclyn Keough, and Warren Feagins effectively use extremes in physicality to contrast angst. Quiet Killers, written by Kristen Palmer, is teenagers musing over death and human instinct. Under the direction of Brea Hayes, Drew Anderson, Natalie Nassar, and Eric Ryan Swanson are over-the-top morose. It’s how the goth-set does funerals.
Had It Before, It’s Enjoyable
Three of the shows have the familiar homestyle goodness of leftovers. The Narcoleptic Pillow Fight written by Alex Dremann is a couple fighting through bouts of hysterical, empathetic or selective narcoleptic episodes. Under the direction of Allyson B. Baisden, Megan E. Brown and Andy Cameron heighten the amusing buffoonery of ‘narking out’. The Rollercoaster of Love written by Joe Musso and A Play or Something Like That written by McCarry Reynolds are two delicious potato salads at the same picnic! It’s actors playing actors working a relationship scene. Both are interesting mini ‘Circle Mirror Transformation’ but not everybody eats potato salad.
Pass the Salt
The final two shows are a little too bland to make it to the big meal. A Portrait of The Artist as a Middle Age Woman written by Jerry Lieblich is a mid-life crisis without the crisis. It needs a dash of Charlie Sheen antics to make it more potent. A fictional Latin lover (Ben Johnson or Jeff Taylor, no headshot, identify unknown) overpowers with his humorous take. He’s hilarious but it’s like putting ketchup on eggs… all you taste is ketchup! White Cotton written by Craig Jessen flirts with infidelity as an engaged man visits his ex-girlfriend. The love triangle doesn’t have quite enough foreplay to make the audience care about who has the long-lasting orgasm.
The Sixth Annual Chaos Festival is a savory smorgasbord offering. With ten opportunities to curb your theatrical craving, your hunger will be satisfied. Bon Appetite!
| Rating: ★★★ |
The Sixth Annual Chaos Festival plays through April 6th at the Lincoln Square Theatre (address), with all April performances at 8pm. Tickets are $15, and can be purchased online or by calling 773-326-3631. Running time: Two hours, which includes a ten minute intermission.
Rhino Fest 2011: A Fruit Salad of Fringe
A Fruit Salad of Fringe
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All plays reviewed by Paige Listerud
Time simply won’t allow for a thorough review of all the productions curated for Curious Theatre Branch’s 22nd Annual Rhinoceros Theater Festival. But an initial smattering might give you a glimpse of the good, the bad, and the deeply uncertain. Chicago’s fringe theater scene is clearly a subculture that depends on prior acquaintanceship—to know which fringe theater companies have a solid reputation for good work and which are still finding their feet and their voice. The following is a truly random selection of Rhino Fest 2011, a fruit salad of fringe, if you will, chosen for variety within the first weekends of the festival—many more productions remain throughout its 5-week run (through February 13). Check out the rest of its schedule.
All performances @ Prop Thtr, 3502 N. Elston (map)
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| Curious Theatre Branch presents |
| All That Fall/All the Flowers Are Dead |
All That Fall by Samuel Beckett
Judith Harding, Matthew Kopp, Kate O’Reilly, Meg Hauk and Beau O’Reilly beautifully revived this Beckett radio play, all the while seated at a table crammed with hats and various noisemakers for special effects. Mrs. Rooney (Harding) takes a sojourn from her home to the train station where she means to pick up her husband. Along the way, she runs into various neighbors who may be a help, a hindrance, a peril, or a temptation to her. Beckett’s love of the cadence of language out of Irish mouths suffuses All That Fall, even when characters acknowledge that they are speaking a dead or dying language. It’s a play in which the old survive, even through complaining about the weariness of going on. Youth is either dying or removed by more insidious means. Curious’ production was so charming, rich and evocatively rendered, it’s a pity they will not be performing All That Fall past the first weekend of Rhino Fest. This production truly deserves a remount. If their production of Mexico, a poem play by Gertrude Stein is done half as well, then Chicago audiences are in for a real treat.
All the Flowers Are Dead, written and directed by Matt Rieger
Matt Rieger’s script is almost American Primitive in its construction and dialogue. Two households live in grinding poverty and predictable misery. Jerome takes care of his ailing mother, hoping that his new job planting flowers for the Park District will give them a better chance. His girlfriend, Rusty, gives him a bicycle to get to and from work but she also pressures Jerome into further commitment. Meanwhile, Augie has to contend with his dad, Nicky, for whom another drink is always the right decision and mom is no help when she finally stops pressuring Nicky to find employment and joins him in drink. Sadly, the first half of Rieger’s play is too plodding and the dialogue too boilerplate to capture the imagination. The play only comes alive once Nicky, to regain his son’s affection, steals Jerome’s new bicycle to give to Augie. The play’s conclusion is devastating but takes far too long to get there, making All the Flowers Are Dead a work in progress more than a completed play.
| Strange Lupus Theatre presents |
| Lemonade Stand |
| Written by Jordan Scrivner Directed by Ernest J. Ramon, Sasha Samochina and Jordan Scrivner thru Feb 10 | tickets: $12 | more info |
It looks like another sunny day at the beach with a lovely young woman, Laura (Jessica Bailey), tending her humble and homey lemonade stand. But, in fact, it’s a way station on an asteroid at the other end of a wormhole, through which astronaut Alexander Russell (Ken Brown) has been propelled from his position on Earth’s moon. How did he get here and how will he get back—or go forward, since time and space have been thoroughly transcended? Laura’s answers Alex’s questions rather cryptically, plus the pair faces interruptions from a thoroughly goofy Professor (Crispin Rosenkranz), an affable and romantic delivery guy (Ernest J. Ramon) and a Russian gal (Sasha Samonchina) in disco attire. Strange Lupus’ production still looks rough around the edges–what with Brown coming off more like a confused actor than a confuse astronaut and Rosenkranz’s daffy, congenial professor still in need of refined comic timing. As is, Scrivner has a charming and profound script with Bailey and her delivery guy holding the production’s center. Simple but effective lighting effects from Maria Jacobson and Shannon Penkava, paired with Ramon and Samochina’s sound design, give Lemonade Stand its out-of-this-world vibe.
Featuring: Ken Brown, Jessica Bailey, Crispin Rosenkranz, Ernest Ramon, Sasha Samochina, Tommy Heffron, Paul Scudder
Sound Design by Ryan Dunn and Sasha Samochina
| Lisa Fay and Jeff Glassman Duo present |
| Currency |
| Performed by Lisa Fay and Jeff Glassman More information |
Lisa Fay and Jeff Glassman have the consummate professionalism of a longstanding comic team. While undoubtedly their short theater pieces contain comic moments, their real intent is to go to the center of human movement, habit and meaning. “Coffee Cup Duet” establishes the rhythm of a simple business meeting over coffee, as well as the rituals inherent in meeting and needing transactions wherein coffee and its accoutrements establish the common ground. “’Napse” is a mysterious and unearthly piece, combining Glassman’s commonplace movements with the gargling, choking, chewing, distortions and whispers Glassman conjures from a small mic saddled in his cheek. One never knows where Glassman is going next with the world he creates from each garbled sound. The suspense alone leads to a finish that unites the everyday with eternity. “Time and Again” examines the stop and start repetitive habits of a couple over the issue of when to return a book to the library. Fay and Glassman’s timing is impeccable and interrogates the very coming and going, leaving or staying that makes a relationship. “Homeland” hits the hardest, with a solitary housewife moving backward in time, from the moment she weeps into a phone in her hand to the violation of her home that has provoked her upset. The piece chillingly depicts where we are now.
| Two Weeks Productions presents |
| The Spores of Eden |
| Written by Peter Axel Komistra Directed by Dylan S. Roberts thru Feb 12 | tickets: $12 | more info |
Agatha (Lisa Herceg) and her daughter Linda (Cathlyn Melvin) spare it out over the last egg out of a dozen Agatha has set out in an Easter egg hunt for Linda to find. Not finding the 12th egg, Linda gives up and refuses to go looking for it, even when it begins to rot and stink up the house. A battle of wills ensues when Agatha keeps replacing the rotten egg for Linda to find and Linda keeps refusing to go in search of it. Decay becomes the only thing the two women know and seems to be the only thing by which the Father (Paul Cary), speaking posthumously, endorses—or so we think. Everything remains at an impasse until Topher (Rory Jobst), Linda’s banished brother, arrives one evening to try and understand his banishment and his wayward life ever since. Peter Komistra seems to not know what to do with characters with such implacable wills as he has crafted here. While the cast does an admirable job with Komistra’s language, the characters themselves only oppose or undermine each other but never reach any kind of clear and creative rapprochement. While it’s thoroughly legitimate to return the play’s circumstances to the same decaying state in which they begin, the conundrums of seeking or failing to find renewal also receive a muddled treatment in the course of the work. The Spores of Eden needs a strong editorial hand and clarification—and it may also benefit from not leaning so heavily on the “Book of Genesis”.
- Featuring: Cathlyn Melvin, Rory Jobst, Lisa Herceg, Paul Cary
- Directed by Dylan S. Roberts
