Category: Bertolt Brecht
Review: In The Jungle (Howard Brown Health Center)
 |
In the Jungle Written by Bertolt Brecht |
Review: Waiting for Lefty (American Blues Theater)
 |
Waiting for Lefty Written by Clifford Odets Check for half-price tickets |
Review: The Voodoo Chalk Circle (State Theatre Chicago)
Brecht adaptation successfully unearths New Orleans of old
| State Theatre presents |
| The Voodoo Chalk Circle |
| Adapted by Chelsea Marcantel Based on the original play by Bertolt Brecht Music by Chris Gingrich and Henry Riggs Directed by Tim Speicher at the Viaduct Theatre, 3111 N. Western (map) through May 8 | tickets: $10-$20 | more info |
Reviewed by Jason Rost
There was a unique and fascinating collaboration that occurred between two small theatre companies this year. The “Full Circle Festival” may have unfortunately fallen off the radar for many theatergoers; however, it began with Theatre Mir’s powerfully resonant production of Bertolt Brecht’s The Caucasian Chalk Circle (our review ★★★★). Now, the State Theatre has given us the wonderful opportunity to revisit this story in a new light with Chelsea Marcantel’s New Orleans set adaptation, The Voodoo Chalk Circle. Marcantel has been an up and coming playwright in Chicago for a few years, and this may be her most ambitious and successful endeavor to date. Tim Speicher’s intelligent and creative direction creates a captivating visual and aural experience that is heavy on theatrics and light on political Brechtian alienation. After experiencing Theatre Mir’s substantial production, this abridged retelling is a fresh and exciting compliment.
Before the play begins, the multi-talented Nick Demeris warms up the crowd as a street performer, similar to those that frequented the tourist areas of pre-Katrina New Orleans. We are then catapulted into a pre-hurricane New Orleans by our narrator, Josh Hambrock. He introduces us to Grusha (Ellenkate Finley) on her 21st birthday, which is being celebrated at a downtown nightclub on the eve of an encroaching hurricane. As opposed to Brecht’s Grusha, who is the servant to a governor, Marcantel perfectly casts her as the servant to the mayor of New Orleans’ wife, Nathalie (a strong performance by Jodi Kingsley). Playing her opposite is Simon (Caleb Probst), who proposes marriage on that evening. After her night out, Grusha returns to the boarded up mansion where she resumes her duties as the surrogate mother to the infant son, Michael, of the neglectful mayor’s wife.
And then there’s the storm. Speicher and music director, Chris Gingrich create an ingenious cacophony of sound, utilizing the evocative Sound Chorus. Combining crashing sheets of metal, jugs of water, wind vocalizations and drumming, the sense of calamity is created magnificently. During the post-storm, Grusha, along with Nathalie’s forgotten baby, flee for the suburbs of the North Shore seeking refuge with her sister. Instead, she finds what is essentially a Voodoo commune living in the ruins. They have rendered rebuilding pointless and have embraced the ways of “the old.” Their leader is the morally ambiguous Baron Samedi (played by Mark Viafranco with remarkable physicality and dexterity). Her sister does finally appear, now reborn into this ancient religion as Erzulie (Cara Olansky). Olansky is compelling in her performance as a woman who has lost everything and has turned, as often people do after traumatic events, to religion. However, Olansky gives us glimpses of loss and grief behind the stone face of a religion that celebrates the eternal, rather than mourns death.
Although engaged to Simon, Grusha agrees to be wed for security reasons to Zeke (Zachary Kropp), a man who appears to have been crippled from a roof collapse. Kropp gives a somewhat unconvincing performance, and the true motives of the character remains vague. However, for utilitarian purposes, the character serves the plot well during Simon’s discovery of Grusha living a life he had not expected to find her in. The final chalk circle scene remains faithful to Brecht’s original text, yet is modified just enough to allow for the ending to carry a certain element of surprise.
While there is strong acting and talent throughout, the casting could benefit from more diversity in ethnicity and age to truly provide the authenticity of New Orleans. Overall, the cast plays slightly on the younger side for a play focused on old traditions. Nevertheless, formidable performances are given by Finley and Probst. Hambrock is engaging as part Our Town Stage Manager: floating in and out of the world of the play, omnipresent, setting scenes and introducing characters—and part Orson Welles in The Third Man: revealing his true function as the judge of morality only in the final act, playing Brecht’s “walking contradiction”, Azdak.
Marcantel’s script is entirely worthy of this fine production. She has found an appropriate contemporary setting for this story and carries the action briskly with high stakes. She perhaps misses an opportunity to connect to Brecht’s original play further due to the fact that she treats the hurricane solely as a natural disaster without examining the political catastrophe in the city more in depth. Whereas Brecht’s war of rebellion was more concerned with the manmade cycle of oppression and corruption, the hurricane in Marcantel’s adaptation is rather “Oz-ian”, a dramatic tool in the form of a catastrophe turning the world upside down. I was also left wondering why Marcantel goes to great authentic lengths in setting this story richly in New Orleans, yet never quite goes as far as referencing New Orleans, Katrina or any other specifics directly. It’s possible some immediacy was lost with this decision. Her dialogue is best in the earlier sections of the story discussing class struggles and Voodoo practices, but falls slightly flat in the oversentimentality of the Grusha and Simon love story.
In the end, it is Speicher’s concept, the emergence of the past from the ruins of modernity, which makes this play a must-see. He truly understands the ritualistic nature of Marcantel’s setting. Gingrich and Riggs’ music is a driving force of nature throughout the play. The Sound Chorus serves as the spiritual voice and heartbeat of old traditions made anew. Shaun Renfro’s set design condenses the action to an intimate section of the barn-like Viaduct space by the use of hundreds of cardboard boxes, reminiscent of essentials that were airdropped to Katrina survivors. In addition, Renfro creates an ingenious playground of set pieces that allow for interaction with the actors. Taylor Bibat’s shadow puppetry represents the concept perfectly by providing an ancient theatrical tradition as opposed to video projections.
The final monologue Marcantel writes for Azdak is poetic and resonant stating, “It’s hard to see how everything comes together, until everything falls apart.” While this production soars, I am left hoping that Marcantel may continue to develop the script into a full adaptation finding more parallels and urgency in the injustice that occurs in the aftermath of natural disasters. It is of high compliment that I wished to spend even more time with these characters and in this world Marcantel has transplanted them to—nevertheless, it is immediately an important piece of theatre this season that should not be overlooked.
| Rating: ★★★ |
The Voodoo Chalk Circle continues at The Viaduct through May 8th, with performances Thursdays, Fridays, and Saturdays at 7:15pm and Sundays at 3pm. Running time is 1 hour and 45 minutes with no intermission. Tickets are $10-$20, and can either be purchased online or by calling (773) 296-6024. For more information, visit www.statetheatrechicago.com.
The Voodoo Chalk Circle is part of the “Full Circle Festival” in collaboration with Theatre Mir to provide audiences with two uniquely different versions of Brecht’s The Caucasian Chalk Circle. The State Theatre closes the festival following Theatre Mir’s production of The Caucasian Chalk Circle directed by Jonathan Berry.
Review: The Caucasian Chalk Circle (Theatre Mir)
Brecht’s musical play restored is vital and thrilling
| Theatre Mir presents |
| The Caucasian Chalk Circle |
| Written by Bertolt Brecht Translated by Alistair Beaton Music by Chance Bone Directed by Jonathan Berry at The Viaduct, 3111 N. Western (map) through April 3 | tickets: $10-$25 | more info |
Reviewed by Jason Rost
After a buildup of Western airpower in the Mediterranean this week, the French foreign minister was asked if the military operation was meant to remove Muammar el-Qaddafi from power: “No. The plan is to help Libyans choose their future.” It is in this strikingly resonant world backdrop that Theatre Mir has staged their fourth production, Bertolt Brecht’s 1944 musical play, The Caucasian Chalk Circle. The production is the opening to the “Full Circle Festival” in collaboration with The State Theatre.
Theatre Mir does not do easy plays. Chalk Circle is intellectual, philosophical and incredibly relevant in terms of current events in places such as Egypt, Libya and Tunisia. It is the type of play a UN Ambassador might want to take in during his free time. All the while, director Jonathan Berry and Theatre Mir have created a production that is equally entertaining and human. Alistair Beaton’s recent contemporary translation also deserves much of the credit.
One notable attribute of this translation is Beaton’s inclusion of the “play-within-a-play” prologue, wherein a diplomatic official (crafted with great care and humor by Stephen Loch) must convince a war-torn town and their farmers that a collectivist economic and social outlook is necessary for survival. However, the official must first watch a play. To this he pleads, after being informed that it will last two and a half hours, “Couldn’t you make it any shorter?” Simply put, it probably could be, but in the end you do not regret the time you’ve spent.
The play revolves around the idea that when you take down a totalitarian government, and the people are left to decide their future, there is often a circular occurrence where the oppressed become the oppressor. It also challenges what it means to be “good” in such conflicts. We are taken through the tale by the singing narrator, played by the talented guitarist and actor, Zeke Sulkes. Sulkes played a similar function in The Hypocrites’ Pirates of Penzance (our review ★★★½) earlier this year, which has some conceptual parallels to this production with the cast picking up and playing various instruments throughout the play. This element also achieves Brecht’s famed “alienation” effect by always reminding the audience that these are actors in a play. Chance Bone’s folk rock scoring adds a driving cultural liveliness to the evening.
After the prologue, we begin the play in a Caucasian town called Grusinia amidst an emerging civil war. The governor (played by Yosh Hayashi, and ironically mocked by Hayashi later when he takes on his more pivotal role). The governor is beheaded and his widow (Mira Vasiljevic) flees into exile leaving behind her infant child, Michael. A servant girl, Grusha (Kristen Secrist), discovers the child and takes him away from the town to safety. She first has pledged her love and allegiance to a departing soldier, Simon (Jeremy Kahn). Throughout her travels she battles, begs and borrows to protect the child and quickly develops a maternal attachment. She eventually weds a dying man (a crass Sean Bolger) to provide for the child, which makes things complicated upon Simon’s return. Secrist plays Grusha with utmost passion, ambition and love. She leaves nothing on the table with this role and carries the first half of the play.
We learn with Simon’s return that war has ended. Order has seemingly returned, and so has the governor’s wife looking for her child. However, the second half of this play is dominated by one of Brecht’s most fascinating characters, Azdak. He is the drunken scholar turned judge who redefines the definition of what it means to be “good.” Yosh Hayashi is thrilling as Azdak. He is constantly versatile and unpredictable. His performance truly showcases his talents, proving to be one of the most captivating actors working in this city. The play boils down to the chalk circle in which the young Michael (now a toddler created effectively in puppet form by designer Megan Hovany) must stand in the middle of the circle while Grusha and the biological mother compete in a tug of war with the child. The outcome is perfect and creates wonderful philosophical debate during after-show drinks.
This particular space at The Viaduct poses many challenges for any set designer or director. However, scenic designer Chelsea Warren creates a found material stylistic set. It is functional and avoids realism, playing well with Brecht’s intent. Melanie Berner’s costumes are an excellent guide to help the audience keep track of which social class the ensemble is playing at any given time. Meanwhile, Bone’s underscoring is as effective as his melodies. A certain use of a slide whistle here, or a saxophone bellow there, add humor and energy to lines.
Overall, Berry makes excellent use of his cast through employing them in various roles as musicians, dancers, actors and stagehands. His staging provides for fascinating movement, including one moment when Grusha must cross a treacherous bridge with the child to flee her pursuers. The ingenious and simple technical method of achieving this moment culminates in one of the most immediate and suspenseful moments of the evening.
While Chalk Circle incorporates all of the entertainment and heart of a Broadway musical, it also leaves you with bleak unanswered questions. One of Brecht’s lines that echoed with me this morning as I read an article on rebuilding Egypt was, “War is over. Fear the peace.”
| Rating: ★★★★ |
The Caucasian Chalk Circle continues at The Viaduct through April 3rd, with performances Thursdays, Fridays, and Saturdays at 7pm and Sundays at 3pm. Running time is 2 hours and 30 minutes with one 10 min. intermission. Tickets are $25 (regular price), $20 (seniors), $15 (students) and $10 (industry). For more info and reservations call (773) 296-6024 or visit: www.theatremir.com.
The Caucasian Chalk Circle is part of the “Full Circle Festival” in collaboration with The State to provide audiences with two uniquely different versions of The Caucasian Chalk Circle. The State Theatre will close the festival with The Voodoo Chalk Circle, a retelling of Brecht’s story adapted by Chelsea Marcantel, April 8-May 1. This adaptation will be set amidst a hurricane strike in New Orleans. Festival tickets to both performances are $30.
All photos by Adam Orton
Review: The Wedding (TUTA Theatre)
TUTA’s garishly manic wedding holds more potential
| TUTA Theatre presents |
| The Wedding |
| Written by Bertolt Brecht Directed by Zeljko Djukic at Chopin Studio Theatre, 1543 W. Division (map) through March 6 | tickets: $25-$30 | more info |
Reviewed by Paige Listerud
The wedding party is back! Under the direction of Zeljko Djukic, TUTA Theatre remounts its wildly successful production of Bertolt Brecht’s The Wedding, an early comedy about a wedding dinner filled with obnoxious and unpredictable guests. Having triumphed with last year’s production (see our review), TUTA is having another go.
Andy Hager is back at his panty-sniffing best as the Bridegroom’s Friend. As the Bride’s Father, Kirk Anderson holds court once again with the unbearably tangential and grotesque stories. As Bride and Bridegroom, Jennifer Byers and Trey Maclin regale once more as the newlywed couple that strives too hard to impress people they don’t like. Meanwhile, Jacqueline Stone (The Wife) and Jaimelyn Gray (The Bride’s Sister) again take lusty feminine mischief to fabulous extremes.
Ariel Brenner, Sean Ewert and Jake Lindquist join the cast to take on the roles vacated by Laurie Larson, Christopher Popio and Ben Harris. TUTA’s rehearsal process for its remount was terribly short and it shows. Hardly enough time has been allowed to let the new cast members jell with the old. Gone is the near seamlessness by which TUTA conveyed these Weimar Era characters’ jaded frustrations, cynicism and anxiety over class. Another weekend of performances will probably warm up the whole cast to the old Wedding magic, but it shouldn’t be left for too long. Part of the genius of the earlier production was the way madness fluidly sprouted in one corner while a guest struggled to win the center of attention in another.
That said, there’s potential for fresh manic humor from the incorporation of new blood. Brenner plays the Bridegroom’s 
Mother with a little more mischief and flirtatiousness than Larson did—Larson had a mother’s scowl that could sour milk and make mares give birth to deformed foals. Ewert’s Husband sympathetically depicts a man who may actually love his Wife, whatever his demons may be—or hers. Finally, Lindquist sings with a little more vaudeville bravado than did Harris in the role of The Young Man. There is much new here for the cast to work and play with, hopefully with exciting results.
Audiences will still find much to enjoy at The Wedding. The bones of Djukic’s direction are still strong. Jesse Terrill’s original compositions hold up very well, and the incorporation of pop tunes sets the right distancing tone for commentary upon the selfish, self-absorbed action of the guests. And then there’s the Jello—from a jiggling entrée of cod to jiggling desserts, nothing portends wedding disaster like garishly colored food that just won’t stay still.
| Rating: ★★★ |
Top 25 Chicago Plays of 2010
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
Top 25 Chicago Productions of 2010
(in alphabetical order)
All told, Chicago Theater Blog covered an astounding 508 shows in 2010—proving without a doubt that this town is truly a non-stop theater machine! Whittling 500 shows down to the year’s top 25 productions was not an easy task, but we think this list illuminates what makes Chicago such a dynamic place to perform and create – a mix of works produced by small storefront companies all the way up to large Equity houses.
So, without further ado, here – listed alphabetically – are the top 25 productions of 2010:
 |
1001 Collaboraction (Sept 2010) Written by Jason Grote Directed by Seth Bockley our review |
“The Arabian Nights” are replayed in a near-futuristic setting, taking place in the belly of New York City’s underground tunnels after a nuclear blast. Says reviewer Oliver Sava, “Grote masterfully intertwines the various story threads, bleeding slapstick comedy, relationship drama, political criticism, and post-modern philosophy together to create a play that defies categorization.”. Chris Jones of the Chicago Tribune called the play “savvy, self-aware and adroit at noting the power of myth in generations of sectarian strife . . .” and Monica Westin of New City noted, “It’s almost impossible to overstate the wit, fluidity and complexity . . .” of the production. (our review)
 |
Abagail’s Party A Red Orchid Theatre (Feb 2010) Written by Mike Leigh Directed by Shade Murray our review |
A Red Orchid Theatre brought out some of their best ensemble work for Mike Leigh’s class-conscious play about stifled lives in 1970s English suburbia. Director Shade Murray lovingly crafted middle class malaise out of Leigh’s caustic script, while Kirsten Fitzgerald lit the torch as Beverly–leading the tight and superb cast in a reckless, discontented charge to mutual destruction. As Susan, Natalie West “essentially reprises her role of Crystal from Roseanne but with a British accent . . . she becomes the play’s most relatable character. Watching in horror as suburban drama unfolds before her eyes, she is an audience member on the other side of the curtain: sober, shocked, and completely in awe.” (our review)
 |
Awake and Sing Northlight Theatre (Feb 2010) By Clifford Odets Directed by Amy Morton our review |
On Broadway, the original, 1935 production of Awake and Sing ran for 120 performances and fixed Clifford Odets‘ reputation as a playwright to reckon with. Chicago audiences were not so impressed. "They threw oranges and apples. I was hit by a grapefruit," recalled Group Theatre actress Phoebe Brand. From today’s viewpoint, it’s hard to see why, especially considering Northlight Theatre‘s powerful revival of this blackly humorous hard-times drama. The play stands on the side of the working class, documenting the warring of capitalism vs. socialism, plodding resignation vs. revolutionary fervor, and long-range hope vs. live-for-today fatalism among them. As director, Steppenwolf’s Amy Morton adeptly paced the show, no doubt helped with a top-knotch cast, including seasoned performers Cindy Gold, Peter Kevoian, Mike Nussbaum and Jay Whittaker. (our review)
 |
Baal TUTA Theatre (May 2010) Written by Bertolt Brecht Directed by Zeljko Djukic our review |
TUTA Theatre will remount its very successful production of Brecht’s The Wedding this February. However, their stronger tour de force was the young Brecht’s very first play, Baal, which explored the rise and fall of the ultimate rebel artist. Assisted by a brilliantly clean and powerful translation by Peter Tegel, director Zeljko Djukic and cast executed a searing interrogation of the subversive artist as pop idol, while at the same time delivering to audiences a wildly intuitive and anarchic performance by Ian Westerfer in the title role. An exactingly cohesive ensemble cast matched Westerfer moment-to-moment, composing the perfect Petri dish for pre-Nazi cynicism, cruelty and decadence. Josh Schmidt’s original music contemporized and rounded out the mood and atmosphere for the piece. (See our review here.) Tom Williams of Chicago Critic called the production “refreshingly inventive as it swiftly blends drama with raw sensuality . . . demonstrates what the power of dedicated artists can produce once they are in creative sync.” Albert Williams of the Reader called Baal “a vivid, dreamlike work of stage poetry.” (our review)
 |
The Book of Liz Chemically Imbalanced Comedy (Sept 2010) Written by Amy and David Sedaris Directed by Angie McMahon our review |
Chemically Imbalanced Comedy had a huge success with The Book of Liz, so much so that it was extended numerous times, and is still running well into 2011. The show, written by Amy and David Sedaris, concerns a small community of Quaker-like Christians known as “The Squeamish”. The Squeamish are simple folk who do without modern-day amenities and instead spend their time praising God and making cheeseballs. Liz is the under-appreciated genius behind the cheeseballs, which serve as the community’s financial backbone. In this hilarious production, Angie McMahon’s direction is resourceful when using the tight space, managing to swiftly transform the stage from a parish to a restaurant to a doctor’s office without letting the momentum of the play slow for a moment. The Book of Liz stayed true to the Sedaris spirit, and fortunately did not hamper the actors from taking risks and breathing new life into the play’s characters. (our review)
 |
Brother/Sister Plays Steppenwolf Theatre (Feb 2010) Written by Tarell Alvin McCraney directed by Tina Landau our review | photo album |
McCraney’s much-anticipated Chicago debut at Steppenwolf did not disappoint. Indeed, concisely paired with Tina Landau’s sparse and enigmatic Viewpoints direction, the triptych of In the Red and Brown Water, The Brothers Size and Marcus; or the Secret of Sweet formed a breathtaking mythic and generational through-line that consistently transcended time and space. To be a young playwright mentioned along with August Wilson, Lorraine Hansberry, and Tony Kushner must be quite a heady experience. But Steppenwolf’s production—teaming with sterling performances by Jaqueline Williams, K. Todd Freeman, Philip James Brannon and Glenn Davis—shows that sometimes you can absolutely believe the hype. Barry Eitel’s review (see here) affirms Chicago’s critical consensus that “McCraney will no doubt become an important dramatic voice for our generation.” (our review)
 |
Candide Goodman Theatre (Sept 2010) Adapted from Voltaire by Hugh Wheeler Music by Leonard Bernstein, et.al. Directed by Mary Zimmerman our review |
Mary Zimmerman is the mastermind behind The Goodman Theatre’s new musical production of Candide. The Tony-award winner not only directed the epic, whose plot literally spans years and oceans, but she also adapted the script. Normally, I’m not a fan of one person having such a heavy hand in the development of a drama. Having a separate writer and director has major benefits, namely the benefit of distance from the work. And it is this distance that can fix any glaring errors in the script or add directorial nuances to strengthen the production. “Thanks to director Zimmerman’s affinity for levity,” said our own Keith Ecker, “Zimmerman saves Voltaire’s classic philosophical narrative from becoming crushed under the weight of its own ideology. I’m amazed that such a sprawling script and dense story can be so digestible. (our review)
 |
FLOAT About Face Theatre (Nov 2010) Written by Patricia Kane Directed by Leslie Buxbum Danzig our review |
About Face Theatre overcame the pitfalls of preciousness that come when presenting a Christmas story about five women with Minnesota-nice written all over them. Members of a Midwest women’s society, they gather in a barn to create the annual Christmas float. What could have devolved into Hallmark card caricature actually resulted in honest emotional plumbing of their lives, conflicts and pressures. Director Leslie Buxbaum Danzig kept the pace brisk while the cast molded complex and full-figured characters out of Patricia Kane’s witty script. FLOAT became the new fresh face in a holiday theater season stuffed to the gills with the same old fruitcake. (our review)
 |
Frost/Nixon Timeline Theatre (Aug 2010) Written by Peter Morgan Directed by Louis Contey our review |
A reclusive, disgraced ex-president squares off against a glib playboy talk show host in a televised battle for public approval. TimeLine’ Theatre’s production of Frost/Nixon inventively captured America right on the cusp–before reality TV but shortly after the boob tube emerged as the gladiatorial arena in which public figures are tried and tested. Terry Hamilton’s portrayal of the fallen Nixon impressed everyone with its grounded, humanistic veracity. Andrew Carter’s Frost signaled a smooth operator, fitting the jet-set mold of the period, yet heralding vacuous times ahead for civic discourse. Scenic designer Keith Pitts collaborated with projectionist Mike Tutaj to manifest the perfect facile realm for Louis Contey’s subtle and tense direction. (our review)
 |
Haff, the Man/Falling Girl Theatre Zarko (Oct 2010) Written by Michael Montenegro Directed by Montenegro and Ellen O’Keefe our review |
Master puppeteer Michael Montenegro and long-time creative partner Ellen O’Keefe created and directed two deeply evocative stories; one about a man trying to restore himself in order to begin a new life with a new love, another about a young girl dangerously desperate for the promising adventure that could be her life. An extremely dedicated and integrated troupe of puppeteers and performers executed Montenegro’s dreamlike dramatic creations, manifesting a fully realized, vivid revival of the Symbolist Theatre tradition. Sublime musical atmosphere directed by Jude Mathews backed up their efforts. The result was pure, unadulterated poetry for the child within the adult theatergoer. (our review)
 |
Hey! Dancin’! Factory Theater (March 2010) by Kirk Pynchon and Mike Beyer directed by Sarah Rose Graber our review |
Hey! Dancin’! isn’t just a hair-brained ‘80s-inspired comedy. It’s also an effective satire on people’s perceptions of celebrity today. K.K. and his girlfriend Tanya see themselves as the center of the universe because they are on TV.—cable access—but TV nonetheless. Halle (Melissa Nedell) and Trisha (Catherine Dughi) give this notion weight since they are star-obsessed with these no-name nudniks. Yet as Halle gets to know the real K.K. (Jacob A. Ware), who admittedly dreams of being famous without actually ever wanting to hone any real talent, the image of these backwoods celebrities begins to crumble. Says our own Keith Ecker: “The acting is brilliant. The comedic timing of most of the players is impeccable. I’ve seen countless improv, sketch and stand-up shows, and this rivals the best of them. Simon as the recovering alcoholic station manager is a scene-stealer with his Muppet-like voice and general awkwardness.” (our review)
 |
Hot Mikado Drury Lane Oakbrook (Aug 2010) Written by Gilbert and Sullivan Directed by David Bell our review |
Drury Lane Theatre tore it up with this jazz-age revival version of Gilbert and Sullivan’s classic. Lawrence Bommer raved that its music director Michael Mahler had a “period-perfect Midas touch” and that the production “sizzles with (director) David Bell’s Lindy-hopping, be-bopping, high-step dances . . . the all-dancing cast turn the Mikado’s entrance into a tap-dancing tour-de-force . . .” Aurelia Williams brought the power as Katisha, while Stephen Schellhardt worked his comic chops, recalling Groucho Marx, Stephen Colbert, Keaton and Chaplin. All in all, Drury Lane’s production was a unmistakably riotous success heard all around the Chicagoland area. (our review)
 |
The Illusion Court Theatre (March 2010) Written by Pierre Corneille Adapted by Tony Kushner Directed by Charles Newell our review | photo album |
But for a few dramatic speed bumps between the romantic leads, Court Theatre pulled off a dense, ornately rich and multilayered dream world with Tony Kushner’s story-within-several-stories adaptation of Pierre Corneille’s 400 year-old play. Charles Newell’s direction led the dance between reality and fantasy, while Collette Pollard’s set design established an delightfully uncanny magical realm. Chris Sullivan amazed as the magician, Alcandre, and Timothy Edward Kane roiled the audience with his comic portrayal of Matamore, the cowardly warrior. Barry Eitel declared the production an “uncommon delight” and a “triumph,” a love letter to the theater. (our review)
 |
Killer Joe Profiles Theatre (Jan 2010) Written by Tracy Letts directed by Rick Snyder our review |
Profiles Theatre pushed the envelope with Tracy Lett’s early play and gave audiences a sly, close, depraved and dangerous ride. Rick Snyder’s direction never stinted on its desolate Texas trailer-trash realism or let up on the work’s unrelenting dark humor and looming tension. Darrel Cox gave a killer performance as Killer Joe Cooper, hired by Chris (Kevin Bigley) to kill his birth mother for insurance money in order to pay off his debt to a drug dealer. Keith Ecker notes Cox’s facility to go “from southern gent to cold-blooded killer . . . all that much more shocking when Joe tosses aside his southern hospitality to reveal the psychopath that lies beneath.” Catey Sullivan observed that Profiles’ production was not for the faint of heart, yet its “blood-drenched, innocence-murdered gallows” humor in Snyder’s hands was “a thrilling piece of theater.” (our review)
 |
The Last Night of Ballyhoo Project 891 Theatre (Nov 2010) By Alfred Uhry Directed by Jason W. Rost our review |
Project 891 created an intimate and emotionally mature depiction of a Jewish family of the American South right on the cusp of World War II and the Holocaust. Sort of fitting in, but not quite, informed by the culture surrounding them, yet set apart, director Jason W. Rost gently unraveled this family’s issues around identity, belonging and success at the Gunther Mansion (now known as the North Lakeside Cultural Center). Darrelyn Marx dominated as the matriarch Boo and Liz Hoffman generated much sympathy as her awkward daughter Lala. Winning and balanced performances from Sarah Latin-Kasper, Jason Kellerman, Lori Grupp, Larry Garner and Austin Oie rounded out the cast. (our review)
 |
Memory BackStage Theatre (Nov 2010) Written and Jonathan Lichtenstein Directed by Matthew Reeder our review | photo album |
Director Matthew Reeder and cast evolved rich, enmeshed and powerful emotional journeys, from rehearsal process to fully realized production, from a woman’s struggle to tell the complete story of her traumatic survival of the Holocaust to a Palestinian’s story about his embattled and complex relationship with an Israeli soldier. Says Allegra Gallian of the Backstage Theatre’s production, “The stage chemistry is genuine and emanates throughout the space . . . performances grow to become so emotionally charged that they grab hold of the audience, captivating us so it’s impossible to look away as the ensemble digs down to the deepest point of authentic emotion.” (our review)
 |
Mimesophobia Theatre Seven (March 2010) Written by Carlos Murillo Directed by Margot Bordelon our review |
Theatre Seven’s production crowned a season full of excellent deconstructive theatrical storytelling. Margot Bordelon’s driven and well-paced direction expertly juggled three storylines regarding the mysterious murder of a woman. Oliver Sava noted the savvy Brechtian distancing wrought by the intelligent cast and the emotional immediacy supplied by Cassy Sander’s performance. “Sanders brings vulnerability . . . her scenes are the most visceral of the production . . . Mimesophobia is a huge success for the young company and one of the more refreshing plays to land this season.” (our review)
 |
My Brother’s Keeper Black Ensemble Theater (March 2010) Written by Rubin D. Echoles Directed by Jackie Taylor our review | photo album |
Though light on storytelling, Black Ensemble Theatre’s recreation of the dancing career of the uber-talented Nicholas Brothers was as close to seeing the originals as audiences are bound to get. Jackie Taylor directed an exuberant production overflowing with swinging musical finesse and huge dancing talent. Rashawn Thompson and Rubin Echoles played Fayard and Harold Nicholas to Thomas “Tom Tom 84” Washington’s musical arrangements and Echoles’ choreography. Donald Barnes and Dawn Bless warmly rounded out the tale as the boys’ vaudeville-bound parents; Michael Bartlett and Rhonda Preston added showbiz flare and power as Bill “Bojangles” Robinson and Big Maybelle. All in all, the cast excelled in reviving the joy of pure, solid entertainment. (our review)
 |
Oleanna / Speed-the-Plow American Theater Company (Sept 2010) Written by David Mamet Directed by Rick Snyder our review |
American Theater Company scored big with two searing, back-to-back productions of David Mamet. Director Rick Snyder had a field day building a war between a student and professor over a slight, but fatal, misstep versus a showdown between big commercial movie business and art. Darrell W. Cox expertly worked his range between playing a slick, cut-throat producer in one and a smug, self-compromised liberal arts professor in the other. The difference between the two Mamet works may have been Nicole Lowrance’s sympathetic portrayal of Carol in Oleanna, which rang more truthful and well timed than her turn as Karen in Speed the Plow. All the same, Lance Baker oozed fierce sleazebag perfection in his role as Charlie Fox, bringing Plow to a devastating end. (our reviews here and here)
 |
A Parallelogram Steppenwolf Theatre (July 2010) Written by Bruce Norris Directed by Anna D. Shapiro our review |
Written by Bruce Norris—a Steppenwolf regular whose other works include We All Went Down to Amsterdam and The Pain and the Itch, among others—the play tells the tale of Bee (Kate Arrington), a woman who was the other woman to Jay (Tom Irwin) before he left his wife for her. They live in an unremarkable home with a pool and a backyard, which is cared for by JJ (Tim Bickel), the friendly Guatemalan landscaper. With this production it’s clear that Director Anna Shapiro knew this material well. She came at the heady story with a comedic eye, which relieved the pretension that could so easily have sunk the play. Said our own Keith Ecker: “If you only see one play this year, see (this play).…the set design by Todd Rosenthal is amazing. …Parallelogram has one of the most eye-popping set transitions I have ever seen.” (our review)
 |
Ragtime Drury Lane Theatre (April 2010) Book by Terrance McNally Music/Lyrics by Flaherty and Ahrens Directed by Rachel Rockwell our review | photo album |
Other productions have lost focus and been crushed under the multiple layers and storylines of this musical adaptation of E. L. Doctorow’s novel. Yet, Drury Lane, under Rachel Rockwell’s knowing direction, succeeded in taking its panoramic 19th century sweep and transforming it into a work that truly earns the word “epic.” Brilliantly cast with Quentin Earl Darrington, Valisia LeKae, Cory Goodrich and Mark David Kaplan, Ragtime’s spare and fluid set design was offset by Santo Loquasto’s lush costuming for the strongest visual impact. John Beer of TimeOut Chicago recognized “this Ragtime yields a snapshot of a nation recognizably our own: dynamic, idealistic and terminally haunted by bigotry and fear.” (our review)
 |
Scorched Silk Road Theatre Project (Oct 2010) Written by Wajdi Mouawad Translated by Linda Gaboriau Directed by Dale Heinen our review |
Silk Road Theatre Project breathed life into a contemporary yet timeless tale of war, poverty, age-old gender inequities, lost family threads, and finding a restored sense of self out of the ashes. Dale Heinen’s direction brought all the suspense of a mystery thriller without sacrificing the emotional weight that gave the play the quality of a Classical Greek Tragedy or a war story out of Bible. Three actresses, Rinska M. Carrasco, Carolyn Hoerdemann and Diana Simonzadeh, convincingly played Nawal, the Middle Eastern mother who mysteriously stops speaking 5 years before her death and posthumously sends her twin children on a quest to find their father and brother. Adam Poss was riveting as Nihad—the pop music and celebrity obsessed jihadi sniper who becomes inextricably linked with their lives. The sterling production of this new work announced Wajdi Mouawad as a playwright to watch. (our review)
 |
The Seagull Goodman Theatre (Oct 2010) Written by Anton Chekhov directed by Robert Falls our review | photo album |
Director Robert Falls wowed audiences with a simple, almost ascetic, presentation of Anton Chekhov’s sprawling tale of a dysfunctional theater family. Mary Shen Barnidge of Windy City Times noted that the production demanded much from both performers and audience but “The experience is well worth the effort . . . with intimacy generated by this Spartan approach illuminating the smallest secrets hidden beneath the surface of the most self-effacing personalities.” Our own Catey Sullivan raved, “Falls and his rock star cast have captured the emotional truth in Chekhov’s text with a power and glory that makes the piece fly by . . . When even the ‘bit’ roles are this rich, you know you have an ensemble of extraordinary power.” (our review)
 |
Side Man Metropolis Performing Arts Centre (March 2010) Written by Warren Leight Directed by Lauren Rawitz our review | photo album |
Warren Leight’s Tony Award-winning play was no maudlin sulkfest on the downward spiraling fortunes of jazz musicians tending to a diminishing art. If anything, director Lauren Rawitz followed the play’s emphasis on strong individual characterization and an unsentimental view of the unstable nature of artistic life. The tough, moxie and cohesive cast captured Leight’s humorous and gritty take on the lives of jazzmen and the women who love them. Michael B. Woods gave an especially stellar performance as Jonesy and Ryan Hallahan’s wry Clifford grounded the show as its narrator. Dustin Efrid’s neon set design gave the production the just the right touch of bluesy feel. (our review)
 |
State of the Union Strawdog Theatre (October 2010) Written by Russel Crouse and Howard Lindsay Directed by Geoff Button our review |
For a political play to matter much, it must prove its relevance beyond its genesis. These dramas must rise above the particulars of their time-sensitive plots and reveal to us a greater truth, something about the human condition or the faults of our society.State of the Union, the 1946 Pulitzer Prize-winning comedy, is an example of this brilliant kind of evergreen political theatre, especially as its tale of political gaming and pandering is as true today as it ever was then. Infused with the talent of the Strawdog Theatre Company, this work managed to not only serve as editorial but as a charmingly funny piece of theatre. Geoff Button’s direction was commendable, especially given the sheer number of entrances and exits he had to manage throughout the play. (our review)
 |
A Streetcar Named Desire Writers’ Theatre (May 2010) Written by Tennessee Williams Directed by David Cromer our review |
David Cromer’s direction injected vitality and vivid perspective into Writers’ production of this sultry Williams classic. Barry Eitel remarked, “Instead of hashing out a bland carbon copy, Cromer finds all kinds of unique tricks in Tennessee’s text but . . . he maintains a sacred reverence for Williams and his blistering story . . . his Streetcar is a searing as July in the French Quarter.” Matt Hawkins, Natasha Lowe and Stacy Stoltz carved new and original ground as Stanley, Blanche and Stella and Collette Pollard’s scenic design put the audience right in their squalid New Orleans apartment. Kerry Reid of the Chicago Reader wrote that Writers’ production “tears away at the Spanish moss of sentimentality that sometimes shrouds this play and lays bare our tragic flaws, both as individuals and as a people . . .” (our review)
 |
Tad in the 5th City MPAACT (May 2010) Directed and Adapted by Carla Stillwell From the poetry of Orron Kenyatta our review |
MPAACT gave Chicago a visceral shot in the arm with its world premiere adaptation about the aftermath of the 1968 riots that burned the West side of Chicago. Our K. D. Hopkins praises the outstanding cast that poetically depicts the community that survived in the ashes. “The magnificent Andre Teamer plays Uncle Brotha with the desperation and hope of a man watching his neighborhood swirl down the sewer . . . David Goodloe is new to America . . . His portrayal of James is like an exposed nerve . . . Destin L. Teamer . . . son of Andre Teamer . . . is an adorable and handsome young man in the 5th grade and yet he turns in a performance of a seasoned veteran . . . his portrayal is savvy and heartbreaking . . . MPAACT has produced yet another honest and powerhouse addition to the Chicago theater scene.” (our review)
 |
The Tallest Man The Artistic Home (June 2010) Written by Jim Lynch Directed by John Mossman our review |
The Artistic Home evoked intense cultural accuracy and emotional veracity with their rendering of Jim Lynch’s turn-of-the-century Irish township, where people scramble for survival under British rule, the memory of the Potato Famine a lurking shadow of the recent past. A consummate ensemble effort by the cast brought out the best in Jim Lynch’s script. K. D. Hopkins writes, “The language is coarse and the action naturalistic. There is blood, sweat, spit and lust in every scene both implied or seen. John Mossman directs this production seamlessly . . .” (our review)
 |
To Master the Art Timeline Theatre (Nov 2010) Written by William Brown and Doug Frew Directed by William Brown our review |
Timeline’s first commissioned play was a “masterful, multilayered experience that excites all the senses,” said Leah Zeldes. The production gently folded in Cold War obsessions about Communism with Julia Child’s discovery of French cuisine and her efforts to compose and publish her groundbreaking cookbook. (our review) Karen James Woditsch, Craig Spidle, Terry Hamilton, Jeannie Affelder and Ann Wakefield led the superbly balanced ensemble cast. William Brown’s staging was “impeccable” around scenic designer Keith Pitts’ charming Parisian kitchen. (our review)
 |
The Water Engine: An American Fable Theatre Seven (Nov 2010) Written by David Mamet Directed by Brian Golden our review | photo album |
Theatre Seven took on a feat of virtuosity when they mounted this play-within-a-radio-play, with 10 actors taking on 40 roles, in a exploration of a Depression Era inventor’s quest to implement his creation, an engine that runs on pure water. The cast impressed with its uncommon professionalism, working together “like a well-oiled machine,” and Director Brian Golden “effectively blends radio-style performance with more animated action in imaginative ways.” Leah A. Zeldes called the production “beautifully nuanced” and while Mamet’s plot “is stridently black and white, it’s also edge-of-the-seat suspenseful . . .” (our review)
 |
Who’s Afraid of Virginia Woolf Steppenwolf Theatre (Dec 2010) Written by Edward Albee Directed by Pam McKinnon our review |
Steppenwolf rounded out their year with a tightly drawn, tensely wound portrait of America’s favorite warring couple, George and Martha. Pam McKinnon’s direction insisted on greater naturalism, with Tracy Letts’ consummate performance as George taking on subtler shades of calculation and sadism, while Amy Morton’s Martha was distinctly more understated and vulnerable. (See our review here.) Madison Dirks’ Nick charmed as a budding player who gets played and Carrie Coon’s Honey almost stole the show with her emblematic mixture of goofiness and pathos. Kris Vire of TimeOut Chicago recognizes that MacKinnon’s direction “hugs curves in a way one suspects wouldn’t be possible without the firm rapport between Morton and Letts.” A marriage made in hell for the characters–but a marriage made in heaven for Chicago audiences. (our review)
All summaries written by Paige Listerud.
REVIEW: Hamletmachine (Trap Door Theatre)
good design ≠ good machine
| Trap Door Theatre presents |
| Hamletmachine |
| Written by Heiner Müller Translated by Carl Weber Directed by Max Traux at Trap Door Theatre, 1655 W. Cortland (map) through Feb 12 | tickets: $20 | more info |
Reviewed by Barry Eitel
As one of the leading figures in postmodern literature, Heiner Müller is nearly as widely influential as fellow German Bertolt Brecht. However, Müller, with ingenious methods of chopping up and pureeing language and story, never gets the same exposure on this side of the ocean as that master of alienation, Brecht. Some of this might come with time, considering that Brecht wrote about 30-50 years before Müller. American audiences may also have a hard time stomaching Müller’s intentionally entangled, muddy hairballs of non-linear narrative, which make Brecht’s plots look relatively straightforward.
Director Max Traux and Trap Door Theatre have a hard time dealing with Müller’s deliberate mess with their production of Hamletmachine, the playwright’s 1977 opus. The piece riffs on both Shakespeare and machines, slamming together Hamlet with 20th Century existentialist questions. Traux conceptualizes the 9-page play (!) as a rock opera of sorts, turning several of Müller’s phrases into musical catchphrases. Although the page length seems miniscule, it’s a very dense nine pages. Müller once staged a 7-hour production of Hamlet, featuring Hamletmachine as the play-within-a-play. At Trap Door, Traux spreads the text among three Hamlets, two Ophelias, and a Gertrude for good measure, further splintering the piece. The droning music, fierce acting, and heavy choreography impart weightiness, but it’s hard to discern much substance from Trap Door’s bloated production. We see lots of horrified expressions and hear plenty of pained soliloquies, but I was never sure exactly why anything was happening.
Müller and Traux are assuming that the audience is fairly familiar with Shakespeare’s original, arguably the most important work of literature in human history (we may have to reconsider after Spiderman: Turn Off the Dark is published….). Here, Hamlet (either Antonio Brunetti, Rich Logan, or David Steiger) mulls over his usual philosophical inquiries while also posing questions about modern-day revolution and art. Müller really shows off his genius when placing Hamlet’s fundamentally human dilemmas in a contemporary context—“Tomorrow has been cancelled” is an oft-repeated line through the piece.
The cast does a noteworthy job breathing life into Traux’s bizarre, fluorescent-lit world. Rich Logan’s limber, ponytailed version of Hamlet is the most interesting to watch, even when hunkered down in the aisles and gleefully eyeing the action occurring on-stage. Tiffany Joy Ross and Sadie Rogers present two very different characterizations of Ophelia, adding further complexity to the piece. It was obvious the actors were all very committed, but the performances lacked clarity. One can’t expect defined motivations and objectives from such an expressionist extravaganza, but choices should make sense in some way. In Trap Door’s manic production, a lot of the meaning soars over the audience’s heads.
Jonathan Guillen and Nicholas Tonozzi provide an eerie soundscape for Traux’s hellish vision, with a focus on repetition a la Philip Glass. Costume designer Nevena Todorovic creates fascinating concoctions that combine Elizabethan styles with strong doses of steampunk. In general, the design does a fantastic job of evoking a specific mood (a bleak, unhappy mood), a specificity the rest of the production yearns for.
The best moment of the play occurs when Hamlet #3, David Steiger, gives a monologue describing a populist uprising. There is no singing or choreography, just an actor addressing the audience. Steiger gives the audience something to cling onto amid the storm. Even though that moment doesn’t gel with the rest of the play stylistically, it is the most powerful.
Trap Door’s failing, noble as it may be, is that the production is overburdened conceptually. Müller’s script is already a puzzle. In production, the confusion should be unraveled somewhat, not wound tighter. Traux’s vision of the play may be brilliant, but it doesn’t read.
| Rating: ★★ |
Composer & Sound Designer: Jonathan Guillen / Production Designer: Richard Norwood / Stage Manager: Barry Branfrod / Costume Designer: Nevena Todorovic / Graphic and Video Designer: Michal Janicki / Production Manager: Caitlin Boylan / Makeup Design: Zsófia Ötvös / Music Collaborator: Nicholas Tonozzi
REVIEW: Baal (TUTA Theatre)
It’s Bros before Ho’s, Brechtian Style
| TUTA Theatre presents |
| Baal |
|
Written by Bertolt Brecht |
reviewed by Paige Listerud
Perhaps no one could accuse Bertolt Brecht of being a feminist. But TUTA Theatre’s production of his first play, now at Chopin Studio Theatre, easily lends itself to feminist critique of its patriarchal constructions of rebellion and artistry. Whether or not that was the playwright’s original intention, Zeljko Djukic’s compelling direction opens up examination of all the impulses and beliefs that drive its protagonist, particularly regarding gender construction. Baal (Ian Westerfer) may be the ultimate artistic outcast and iconoclast. All the same, he does not rebel against the codes of masculinity that allow him to abuse women and murder his best friend at the suggestion of homoeroticism.
But first, a critique of the production: the show is brilliant. If you haven’t yet heard that Baal is Jeff recommended, then you heard it here first. That accolade that will be seconded by every critic that has eyes to see and ears to hear. Djukic has developed cohesiveness in his ensemble that would be the envy of many other productions; their unity reveals itself with each fluid moment and inspired scene change. Dramatic transformations carry emotional weight from scene to scene, until the entire wicked fabric of the play unfolds in a rich, decadent tapestry that, nevertheless, maintains its Brechtian distance. For all the cunning by which that effect is wrought, this is a production to run to.
As for the eponymous lead, I really don’t like using the word “star” in Chicago theater. But Westerfer, as Baal, is a star–a man on fire. He is both the Poet as subversive pop idol and a sly Brechtian parody of that very notion. He is an actor who goes the fullest limit of his outrageous role yet never overreaches or looses control. Lucky him, he gets the lushest language of the play; his use of it never disappoints. Peter Oyloe pairs Westerfer accurately and admirably as Ekart, Baal’s bohemian partner in crime, but clearly, the show is Baal’s. Every effort done by the rest of the cast, especially mastery of Brecht’s language, sets Baal at the epicenter and supports him completely—like water that buoys the floating arrow in a compass pointing north.
The centering of Baal within each environment he’s placed is the quintessential dynamic in this clear and sterling translation by Peter Tegel. Whether in the company of posh German elites, ready to publish Baal’s works in order to boost their own image—or singing before rough crowds at a low-end dive—or in the presence of women who show up for furtive sex at his attic flat—or on the road with Ekart–at an insane asylum—dying before of the sort of merciless men he’s known all his life—Baal’s reactions to all these environments reveal his strongly held beliefs and excessive character. Baal acts out, a perpetual motion machine of absolute contrarianism, but his acting out alone would be meaningless a vacuum. The image of the German Expressionist artist in his pre-Nazi environment awakens Brecht’s dramatic interrogation as to the value of such an artist.
TUTA’s production never forgets that delicate balance between the outsider artist and the cynical society through which he passes. What looks like bawdy roughness and uninhibited abandon is really action constructed and choreographed with military precision. That the cast makes it look so friggin’ effortless is the knee-slapping wonder of this show.
Now, on to the feminism: Baal’s serial abuse of his women lovers forms the main action onstage. But his attitudes toward women and sexuality are not simply born of his defiance of the cramped, hypocritical, bourgeois conventions of his time. They spring equally from his culture’s conceptions of masculinity and the outlaw artist. In fact, besides the warrior or the criminal, the rebel male artist may be the uber-masculine figure of Western Civilization, one that repeats itself interminably to the present day. “Bros before ho’s” is a sentiment far more ancient than its current hip-hop expression and Baal is certainly not its first or only representative, in art or in life.
The wonderful paradox about a figure like Baal is that he can rebel on one level, yet conform to age-old gender constructions that allow for the abuse of women. Baal spurns the middle class sycophants who offer his art patronage. His open insult to their offer is fabulously defiant, a theatrical delight. His rejection of middle class mores regarding sex and gentility toward women gives him access of women’s bodies without all that ridiculous, sentimental love stuff. Whether the middle class males Baal mocks have more respect for women as persons than he remains an open question. But Baal’s extreme adherence to working-class masculinity allows him to abuse women as he feels they deserve.
“This play must be approached on its own terms, which is one of drunkenness. Baal is drunk on women, wine, and principle; and the actions of the play’s inhabitants must always be seen through this lens”–so writes TUTA’s dramaturg, Jacob Juntunen, in the program notes. No kidding. Among the principles Baal is drunk on are those regarding his uber-masculine artistic revolt. To drink heavily is masculine, so Baal drinks by the bucketful. To beat one’s woman is masculine, so of course he slaps his bitches around. To fuck women without attachment is masculine, so he fucks the whores and throws them to the other guys. To get them pregnant and abandon them is really masculine, so he knocks them up and runs from the stupid cows—they’re only trying to trap him anyway.
To top it all off, once they’ve thrown themselves into the river because they’ve been fucked, abandoned, and (maybe) knocked up, he sings about their floating, rotting corpses. That’s not just masculine, it’s deeply profound and poetic. Genius–genius that allows a male artist to get away with it.
I’ve rubbed your faces in it, but so does Brecht. The real genius of his play is that overweening masculinity is not just a principle that Baal is drunk on. Everyone around him is drunk on it, too—both men and women. Women keep offering themselves to Baal, no matter how extreme the abuse. Here, women have bought into the concept of the outlaw artist as totally as the men. In such a culture, Baal gets all the tail he wants, is as abusive as he pleases, and never has to be accountable to anyone about it. As for their consent to all his unprincipled sadomasochism, some women are more consenting than others, not that it makes any difference to our hero.
It’s here, however, that Djukic’s direction exhibits one truly mystifying flaw. In some ways, the fact that everything else flows so smoothly contributes to it showing up like a sore thumb. Toward the end of the play and Baal’s friendship with Ekart, out of jealousy Baal rapes a young woman who is Ekart’s lover. The rape is portrayed in truncated symbolic form. Why? What is the point of pulling that punch–too violent? A previous scene shows Baal tormenting his pregnant lover, who accepts his beatings and begs for his blows instead of abandonment. In a following scene, Baal knifes Ekart in the back for suggesting, in front of their old boozy gang, that Baal is a homo. Would the realistic depiction of a rape be too much, sandwiched as it is between these brutal scenes? The choice to minimize that violence is bizarre and bewildering. If the idea is to prevent Baal from seeming too unsympathetic, then that choice is really bizarre.
Oh well, in terms of this play’s historical place, the Third Reich is just around the corner. Very soon, it will be “Kinder, Kirche, und Kuche” for the women of Germany. Perhaps worse, more hypocritical men than Baal will be enforcing those policies–but only perhaps.
| Rating: ★★★½ |
REVIEW: The Good Soul of Szechuan (Strawdog Theatre)
Strawdog and Brecht a wicked good combo
| Strawdog Theatre presents |
| The Good Soul of Szechuan |
| Written by Bertolt Brecht Translated by David Harrower Directed by Shade Murray at Strawdog Theatre, 3829 N. Broadway (map) through May 29th | tickets: $20 | more info |
reviewed by Oliver Sava
Bertolt Brecht believed epic theatre would reveal society’s immorality and incite virtuous action in its viewer. The genre is formulaic by nature, and in the wrong hands, epic theatre is just tedious. The techniques intended to alienate the audience – actors playing multiple characters, unrealistic settings, costumes and props in plain sight, the occasional musical interlude – do just that, but have the potential to disinterest more than disaffect. It takes a skilled ensemble to find emotional resonance when a script intentionally creates a hurdle in the actor’s connection with the audience, but 
Strawdog Theatre’s cast and creative team use the conventions of epic theatre to enhance David Harrower’s gritty translation of Brecht’s The Good Soul of Szechuan.
The updated language pulls Szechuan into the present, turning the city into a modern industrial metropolis filled with selfish people that hate their lives as much as they each other. The dialogue should sound familiar to anyone who has ever been on the CTA, with the characters indulging in profanity-driven whining as prostitute protagonist Shen Te (Michaela Petro) tries her hardest to appease their demands. Modernizing the language has the potential to push the style into realism, but there is enough stage business and audience participation to keep the theatrical artifice at the forefront. As patrons are seated, a house band plays rousing folk-rock while actors warm up on stage and interact with unsuspecting members of the audience. Make no mistake, these are actors putting on a show, not actually the characters they portray. So it’s still epic.
From the orgasmic chants of “Shen-te, Shen-te, Shen-te!” that signal the main character’s entrances to the ethereal strings that soundtrack the Gods’ (Adam Shalzi, Amy Dunlap, Anita Chandwaney) scenes, music is used to quickly establish tone and give the actors added support. Intended as one of those pesky alienation techniques, the musical numbers have such energy and passion that it is difficult to not feel moved, especially when the entire ensemble raises their voices together. The actors double as the band, and their vocal quality is matched by clear and confident accompaniment that showcases the various instrumental talents of the cast. The only song that never really clicks is “The Song of Smoke,” a headbanger sung by Shen Te’s lover Yang Sun (John Henry Roberts) that lingers a little too long and stretches the character’s fury past its breaking point.
Director Shade Murray is adept at tragicomedy, and he finds the humor in Harrower’s downtrodden Szechuan. When Shen Te can no longer handle the greed of those she aids, she creates Shui Ta, a brash male alter ego. Shui Ta’s tracksuit and gangster swagger are laughable, but when Petro puts on her ass-kicking boots she does not play around, especially when she pulls out a brick of heroin. The exaggeration of her costuming and behavior strike a comedic chord as her actions take her deeper into darkness, creating laughs that are tinged with uneasiness. Most of the humor comes from the characters acting despicably – the aggressive disrespect of Shen Te’s houseguests, the flippant bitchiness of her landlord Mrs. Shin (Shannon Hoag) – and each laugh is another reminder that this is a performance, forcing the audience to question what exactly is so funny.
In the end, it’s another Brecht show with another Brecht message: Capitalism makes people do bad things. The biggest problem with epic theatre is that after a while it’s just not fun to watch people struggling, but when a company is having as much fun as Strawdog does in The Good Soul of Szechuan, the dark corners of human depravity don’t seem that bad a place to be.
| Rating: ★★★ |
REVIEW: Mimesophobia (Theatre Seven)
One of the most refreshing plays to land this season
Theatre Seven presents:
| Mimesophobia |
Written by Carlos Murillo
Directed by Margot Bordelon
At Chicago Dramatists, 1105 W. Chicago Avenue,
through April 4th (more info)
By Oliver Sava
I knew Mimesophobia was going to be Brechtian when I saw the costume rack on stage. Underneath the hanging clothes? A shelf of props. Double Brecht. No actors, no dialogue, and it is obvious who is running the show: everyone’s favorite pioneer of epic theatre, Bertolt Brecht. My suspicions are confirmed when the two narrators take the stage, Man-Who-Speaks-Omniscient-Between-the-2nd-and-3rd-Person-a.k.a. Brian (Brian Golden) and Woman-Who-Speaks-in-the-2nd-Person-Omniscient-a.k.a. Jessica (Jessica Thigpen). With the articulation of newscasters, the duo introduces us to the world of the play, continuously reminding us that what we are seeing is, without a doubt, a staged retelling.
Suddenly the empty stage is Grauman’s Chinese Theater, where two young screenwriters are premiering their new film about the murder-suicide of a New England couple. Henry (Michael Salinas) and Aaron (Brian Stojak) break down the final scene of Before and After frame by frame – don’t forget, this is a retelling – and questions begin forming. Who died? How? And who is this woman going on The Charlie Rose Show and why is this elderly Hyde Park couple terrified of her? These questions will be answered by the end, but more will be left unanswered.
Mimesophobia juggles three storylines, each informing the others but also doubting them. Truth is relative. Cassy (Cassy Sanders), the sister of the murdered woman, tries to understand the events that lead to the killing by reconstructing her sister’s journals, burned on the night she was killed. At an artist’s colony, Henry and Aaron are working on a first draft of Before and After, but struggling with a bad case of writer’s block. Shawn (Cyd Blakewell) is the rambling genius writing One Night Only: Actual Death and the Future of American Entertainment, a nonfiction novel about cultural fascination with the recreation of deadly situations. Stuck on the middle chapter – “the cat burglar’s pick that once turned will drop the tumblers in place opening a door” – she is also living on a cot at the artist’s colony, eating peanut butter tortillas and murmuring like a maniac.
After the Chinese Theater prologue, the history of Shawn and how she crosses paths with Henry and Aaron. The script is clever, the narrators are beginning to have a little more fun – Jessica is playing Beth, Shawn’s mother – and Blakewell delivers each line in a detached monotone that is creepy as hell. Brecht rears his adorable little head with costume changes on stage and actors as set crew, but it works with the play’s theme that entertainment survives by fictionalizing fact. Theater is inherently a lie, but it is the collective experience of the audience seeing a story together that creates truth by asking the viewer to question what they think they know. The play has us asking questions and thinking about the bigger ideas, but is there a human connection? Is this a seriocomic experiment in dialectical metatheatre or will this story resonate on a deeper emotional level?
 |
 |
 |
 |
Enter Cassy, the character most impacted by the central tragedy of the plot and our anchor to the truth. Sanders bring vulnerability to the production, her quivering voice and small frame a sharp contrast to the crisp confidence of the other performers, and her scenes are the most visceral of the production. As she uncovers hidden facts about her sister and her troubled marriage, Cassy begins to question her own relationship with the deceased.
The pieces are all in place, now the puzzle building begins, with Murillo’s script layering events to build suspense. Revelations that Cassy finds in her sisters journals provide major breakthroughs in the plot, which are then explored through the creative lens of Henry and Aaron. How Shawn fits into the narrative is the biggest mystery, and Blakewell offers few clues to her enigmatic character’s intentions, a captivating cipher.
Seeing these pieces come together is the fun of Mimesophobia, so the less you know, the better. Margot Bordelon’s direction moves the production at a quick pace that doesn’t sacrifice emotion, and the actors have a firm handle on Carlos Murillo’s stylized dialogue and the relationships, especially Cassy’s with her dead sister. Funny, provocative, and poignant, Theatre Seven’s Mimesophobia is a huge success for the young company, and one of the more refreshing plays to land this season.
Rating: ★★★★
REVIEW: The Brother/Sister Plays (Steppenwolf Theatre)
Ground-breaking production reveals playwright’s brilliance
Steppenwolf Theatre presents:
The Brother/Sister Plays
by Tarell Alvin McCraney
directed by Tina Landau
through May 23rd (more info)
review by Barry Eitel
Tarell Alvin McCraney has received quite a bit of exposure in the theatre blogosphere in recent months. The debut of his Brother/Sister Plays at Steppenwolf Theatre, directed by the distinguished Tina Landau and featuring a powerhouse ensemble of actors, has made him subject to all sorts of interviews, features, and user comments.
Fortunately, his work does stand up to the hype. At 29 years old, McCraney is on his way to being one of the premier playwrights of this upcoming decade.
There are plenty of comparisons to be made between McCraney’s work and the cream of the crop of African-American playwrights. Like Lorraine Hansberry, he has a flair for fiery dramatics. Like August Wilson, he layers in plenty of history and culture. Like Suzi Lori-Parks, he can whip out beautiful poetry – even in the darkest of situations. But like the works of all of these playwrights, The Brother/Sister Plays are born out of a multitude of influences. Hints of Brecht, Lorca and Yoruba; writers such as Wole Soyinka mark up McCraney’s loose trilogy of plays. McCraney’s plays are far more than a hodge-podge of influences, though. The Brother/Sister Plays show off a unique style, one that is detonated by Landau’s fertile imagination and the cast’s passionate dedication.
The Brother/Sister Plays at Steppenwolf consist of three plays, In the Red and Brown Water, a full-length work, alongside The Brothers Size and Marcus, or the Secret of Sweet. They are playing the three plays in repertory, with Red and Brown Water going up one night and a double-bill of Brothers Size and Marcus the next. Or you can choose to see all three on a marathon Saturday afternoon/evening. Although not a straight-up trilogy, the three plays are written in a similar style along with sharing characters and community (much like Wilson’s 10-play cycle). Each play works well as an individual piece, however. Red and Brown Water follows a young girl through the years as she struggles against her social class and the men in her life. Although all the plays have elements of song and poetry, this one is chock-full of pulsing, celebratory music and lyrical language. Marcus, the next longest play, takes place years later and details the journey of a teenager discovering his sexuality. It is the most plot-heavy of the three, and probably the most accessible. My personal favorite was The Brothers Size, a succinct, biting, actor’s dream of a play. Painted by social issues ranging from unemployment, homosexuality, and racial profiling, the piece pits two brothers against each other. The tight drama reminded me of David Mamet’s testosterone-crammed American Buffalo, currently sharing a building with these plays. (see our review – ★★★★)
 |
 |
 |
 |
 |
The writing provides a solid base, but the Steppenwolf production soars because of how well Landau’s viewpoints-focused direction compliments McCraney’s avant garde sensibilities. The three plays are set on a more-or-less bare stage, yet space and time are consistently transcended. (Ah, the possibilities of theatre.) It also helps that the ensemble comprises of some of the best actors in the city. The Brothers Size, for example, works so well because of the searing performances pumped out by Philip James Brannon and the great K. Todd Freeman. Other highlights include the brassy Jacqueline Williams and the introspective Glenn Davis.
With any show that experiments as bravely as The Brother/Sister Plays, there is bound to be a few stumbling blocks. The plays are littered with narrative takes to the audience (Ogun will say, “Ogun smiles,” and then he will smile), which create some fantastic moments but also sometimes feel a little overused. Marcus could also use about 15 minutes cut off, and the overall storyline can become convoluted. The theatrical dividends are well worth the occasional hiccup, though. The Brother/Sister Plays make it clear that McCraney will no doubt become an important dramatic voice for our generation.
Rating: ★★★★
