Tag: Caren Blackmore
Rich script overrides lackluster adaptation
Pegasus Players presents:
Chicago Dramatists’ alum Dael Orlandersmith’s The Gimmick is a one-woman show originally performed by the playwright herself in 1999. It is a superbly-written poem/monologue that tells the story of ten-year-old Alexis, as she and her best friend Jimmy grow up together in 1970’s Harlem. The children are surrounded by addiction, prostitution and violence both from their parents and their peers, and find solace both in the arts and in each other.
Although it was originally written as a solo piece, Pegasus Players has unnecessarily brought on Caren Blackmore and Brandon Thompson to play supportive roles. The result is a collection of cold, weird, disconnected scenes that come off more like high school skits than scenes in a play, tied together by Alexis’ (LaNisa Frederick) speeches. The work put in by the actors is passable, but the production is passionless: from the snooze-fest of a set (made up of a scrim and a couple of window units) to the beyond lame staging.
Frederick does her best, working against banal direction and bizarre costuming (she is dressed in a huge purple, flowy, over-shirt thingy that completely monopolizes her body). She’s able to transform her role from being cute and funny to dark, gross places when needed. Her monologues are by far the most engaging parts of the show. Brandon Thompson, who ages about ten years as during the play as Jimmy, does a great job of playing a ten year old in a respectful, believable and sweet way.
When improv actors are learning their craft, they are taught never to bring real props or costumes onto the stage, because it interferes with the audience’s suspension of disbelief. The theory is that if everything is pantomimed, then anything can be possible. As soon as a real object enters the scene, it becomes harder to imagine things that aren’t really there. I wish someone had told director Ilesa Duncan thies before she directed this play. The idea is creativity in minimalism. Just because a play doesn’t call for fireworks is no reason to slack off when trying to fill the space.
This being said, don’t write off this play entirely. The writing is so robust that you’ll still have a good time. Pegasus Players’ mission to bring theater to those with limited access. which is a very worthy cause. But almost everything about this production, from the props to the costumes, to the set is more half-hearted than impressionistic.
All photos by Michael Brosilow
The voices of the future are here.
January 7-31, 2010
Fridays and Saturdays @ 8:00 p.m.
Sundays @ 3:00 p.m.
special first preview performance on Thursday, January 7 @ 8:00 p.m.
(All seats just $15 each)
review by Oliver Sava
The three works that comprise Pegasus Players‘ 24th Annual Young Playwrights Festival offer unique views on youth, mortality, and abuse, and were all written by high school students. Aided by professional writing mentors, the playwrights are given the opportunity to see their ideas take shape under the guidance of some of the city’s top directing, acting, and design talent. The results are positive across the board, but like any group of adolescents, maturity varies from script to script.
The Nowhere People
Gabriella Bonamici‘s heartbreaking drama about widower Ernie (Benjamin Sprunger) and his mission to communicate with his dead wife, Ann, is the highlight of the evening, expertly directed by Kimberly Senior, who has steadily created a career around her ability to capture grief on stage (see: Timeline Theatre’s All My Sons and Next Theatre’s The Overwhelming). Luckily, Ernie’s neighbor Danny (Alice Wedoff) has a ghost of her own, and she’s been building a ghost-machine to open a portal to the spirit world and send it back. Bonamici’s script moves with fluidity and ease, filled with humor while never losing the gravity of the loss of a loved one on the human spirit. The script also handles exposition beautifully, gradually revealing essential information about the characters as the dramatic tension builds, and each discovery adds a new layer to the conflict. As landlord Sid (Michael Gonring) becomes increasingly concerned with Danny’s mental health and the ghost-machine’s uncanny ability to knock out the building’s power, Ernie has to decide between his own life and the answers he so desperately seeks. Sprunger and Wedoff have great chemistry, bonding through their joint experiences of loss and their common goal of reaching into the afterlife, and both actors are fully committed to the slightly far-fetched circumstances. The actors shine because of the script, a subtle yet powerful examination of the ghosts that haunt us all, and the extraordinary measures people go to escape the past.
Trapped atop a roller coaster, Effie (Rinska Carrasco) and Milo (Gonring) discover the unexpected connections they share while learning a bit about themselves. Gixiang Lee‘s hilarious script balances high school dramedy with a hefty load of cultural references that actually serve to flesh out the characters rather than simply give the piece an air of relevance. Effie enthusiastically singing Salt N’ Pepa’s "Push It" as they are elevated to the top of the coaster while Milo clings for dear life, terrified at what awaits below. Total opposites, but you know what they say about opposites. Lee’s script isn’t realistic, the Effie and Milo’s relationship is almost completely based on coincidence, but it is her fearlessness with the comedy that makes the piece so memorable. Milo’s list of fears, ranging from heights to large rabbits to "the small but ever present threat of death from falling out of bed," is brilliant, and the T.P. Employee (Sprunger) that comes to their non-rescue is played with a ridiculousness that borders on caricature but works in the context of the play. The humor might not be the most sophisticated, but Lee creates sympathetic characters that are easy to root for, making Roller Coaster an excellent comedic piece with real heart.
deliver me from evil
In therapy after being hospitalized for attempted suicide, Magdelina (Wedoff) reveals a history of physical, emotional, and sexual abuse inflicted by her mother (Gilmary Doyle) in Kat Blackburn‘s deliver me from evil.The strain of past trauma begins to weigh on Magdelina’s relationship with girlfriend Soda (Caren Blackmore), and she must confront her demons in order to salvage the only loving relationship she has ever known. Petra (Carrasco), Edward (Gonring), and Jenny (Mildred Marie Langford) represent the childish, masculine, and feminine aspects of Magdelina’s tortured psyche, giving form to the poetry in her journal. These sequences, combinations of interpretive movement with symbolic imagery, have varying degrees of success. One particularly chilling entry features the four teens cutting together, the act taking on a communal nature reminiscent of ritual sacrifice, but at times the poetic sections feel a little too much like they were ripped from a teenager’s journal – angstful , angry, and lacking in maturity. The actor’s do a fine job with the material, but deliver feels the most like a play written by a high school student of the three.