Tag: Danny Taylor
Rise of the Numberless
Written by Patriac Coakley, Andrew Hobgood,
Strawdog explores intersection of religion, magic, insanity – and actors
|Strawdog Theatre presents|
|The Master and Margarita|
|Adapted by Edward Kemp
Based on novel by Mikhail Bulgakov
Directed by Louis Contey
at Strawdog Theatre, 3829 N. Broadway (map)
through April 2 | tickets: $20 | more info
Reviewed by Katy Walsh
As artistic differences threaten the theatrical production of Pontius Pilate, Satan arrives in town to set the record straight. Strawdog Theatre presents The Master and Margarita. In anti-religion Moscow, a writer works feverishly to create a masterpiece play. His girlfriend Margarita believes he is ‘The Master’ and is willing to do anything to support his writing. The government’s theatrical department interferes with his show. They want to ensure Pontius Pilate discredits Jesus’ existence. Satan and his cronies visit for a little civilization observation. They also want to get their magic show on the stage. Arrested, committed, beheaded, the poor souls of Russia are in chaos. When Satan sheds insight into mortals’ psyches, the balance of life has a peaceful neutralization. The Master and Margarita blurs the division between magic and religion, imagination and psychoses, theatrical and actual, life and death.
Is it a play about a play about the historical decision maker Pontius Pilate? Or is it the full blown hallucination from an asylum inmate? Is it pro-religion or just anti- being anti? The Master and Margarita is for certain an epic of biblical portions. On a primarily stark set, crowd scenes are choreographed using cast as colorful and changing scenery. The large ensemble is white-faced (make-up designer Aly Renee Amidei) and sometimes black-masked. (Special nod to Amidei for the Centurion’s makeup: I was transfixed.) The mass unified look effectively emphasizes the alternating mood from theatrical to threatening to comical to spooky. Costume designer Joanna Melville goes hellish, dressing up an underworld ball in goth prom attire. The vibrant swirl of activity is non-stop. Under the direction of Louis Contey, the multiple themes and scene transitions flow smoothly and briskly into the next.
A plethora of Russian names, myriad of actors playing numerous roles, and the whitening effect add to a quandary of identification. Among the easily recognized, the damned bunch are hilarious misfits. Tom Hickey (Woland aka Satan) leads with smug wisdom and a surprising twisted kindness. Anderson Lawfer (Behemoth) is hysterical as a talking cat. Without even that many lines, Lawfer drawls the funny out with a bow tie without pants comment. Double-vision, Danny Taylor (Fagott) has a comedic and mysterious allure. Anita Deely (Azazello) is the non-nonsense assistant from hell. As the enduring lovers, Dennis Grimes (The Master) is a gentle martyr-type and Justine Turner (Margarita) is his strong lovely rescuer. The entire ensemble are convincing as actors playing theatre types, actors playing crazies or actors playing people going to hell… or maybe there isn’t a distinction.
The first act is a bubbling manifesto of intriguing confusion. The intermission is a pause from the frenzy to admit uncertainty to the point of the show. At some point in act two, there is an ‘A-ha moment.‘ All the dots connect for art open to interpretation. To sum it up, the cat said it best in one of the final scenes, ‘now, I get this play!’ What the cat said!
The Master and Margarita continues through April 2nd, with performances Thursdays, Fridays and Saturdays at 8pm, Sundays at 4pm. There is no performanceSunday, April 3. Tickets are $20 with group, senior and student discounts available. Tickets may be ordered by calling 773.528.9696 or by visiting www.strawdog.org.
Running Time: Two hours and thirty minutes with a ten minute intermission
Tall Tale Is Too Big
|The New Colony Theatre presents|
|That Sordid Little Story|
|By Will Cavedo, Andrew Hobgood and Benno Nelson
Composed by H. Riggs, C. Gingrich, T. Sissom and T. Lux
Directed by Andrew Hobgood
Music Directed by Henry Riggs
at Viaduct Theater, 3111 N. Western, Chicago (map)
through August 7th | tickets: $25 | more info
reviewed by Keith Ecker
The New Colony Theatre’s original play That Sordid Little Story is a huge production, both figuratively and literally. It fills the spacious Viaduct Theater with a two-tiered stage that is flanked with jutting runways. There are two intermissions throughout the 2.5-hour long piece. Including musicians, the cast just jumps the dozen marker, which I know is no Cherrywood, but it’s still a sizeable amount of people for an off-Loop production.
The play also feels huge. It’s epic in its nature, with its protagonist, Billy Lomax (Patriac Coakley), journeying from Fayetteville Georgia across the South in search of a bluegrass band that may just hold the answers to the identity and whereabouts of his father. Along the way, Billy encounters a cast of colorful characters including a manipulative antique shop owner (Caitlin Chuckta) and her jealous brother (Wes Needham), a man of color who claims he’s half Cherokee (Anthony DiNicola), a stand-up comic (Sean Ellis), a couple of Latino day laborers (Aaron Alonso and Gary Tiedemann) and others.
The elusive bluegrass band serves as the soundtrack to Billy’s life. Each song inexplicably represents Billy’s current situation, or at least that’s how he reads into it. And so the band becomes the fuel that drives Billy, and for that matter the rest of the play, forward.
I should note that The New Colony takes a unique approach to creating a new production like this. The lines delineating actor, writer and director are blurred, with all cast members getting some say in the development of the play and its final treatment. With a company of about 30 members, this sounds like a situation where too many cooks could have spoiled the pot. And while the pot is not spoiled, it suffers from too many ingredients.
The play practically bursts at the seams. There’s just so much in it. Issues of race, issues of family, issues of wealth and social class. In covering so much territory, very little is actually said.
In addition, there are too many characters that come in and out of Billy’s life for us to really care about them. Once Billy starts developing a connection with someone, he leaves or he is left. We as the audience catch on to this pattern quickly, which means mentally we know there’s little at stake with these friendships. Once that happens, we know we can check out, and thus the relationships that Billy is making just don’t have much of an impact. In the end, you’re left just waiting to see how the whole thing wraps up.
Also, some of these scenes lag. There are conversations between talking heads that sound reminiscent of college-level discussion groups. Much of this dialogue could be cut, and we’d still get the point. There’s nothing intrinsically wrong with a 2.5-hour long play as long as your play needs to be 2.5 hours. With some obvious editing, That Sordid Little Story could shave off a good 30 minutes.
But let’s take a moment to focus on what this play does well, namely, the music. This is a four-star score, lyrically and melodically. Heart-wrenching at times, uplifting at others, the music overshadows the rest of the play with its spot-on descant harmonies and its band’s down-home-country affection.
Also, the acting is consistently solid. Standout performances include Sean Ellis as the drunk comic, Aaron Alonso as a non-English speaking immigrant and Caitlin Chuckta, who reminded me of comic actress Stephnie Weir.
That Sordid Little Story is anything but little. It’s a big piece – too big. With some self-editing, this could have been more than just a cool concept. But as it stands, I’d rather just listen to the soundtrack.