Tag: DCA Theatre
Thursday, September 2nd
|LiveWire Chicago Theatre
Written by Emily Dendinger
At the DCA Storefront Theater
66 E Randolph, Chicago
Enjoy the world premiere production of Hideous Progeny then join LiveWire Chicago and the Progeny creative team for a post-show discussion on the mezzanine of the Storefront Theater for tea and desserts. It was a dark and stormy night in a house by the lake, when Mary Shelley famously took up her host Lord Byron’s challenge to write a terrifying story and created Frankenstein, one of the most famous novels in the Western canon. Witty, salacious, and often melodramatic, Emily Dendinger’s world premiere play directed by Jessica Hutchinson depicts the larger than life romantic figures as the normal teenagers they were – overeducated, egotistical, and ready to change the world.
Show begins at 7:30 p.m. Event begins at 9:30 p.m.
For reservations call 312.742.8497 and mention "Theater Thursdays," or visit www.dcatheater.org.
The devil’s in the details:
Anachronisms mar historical drama
|LiveWire Chicago Theatre presents|
|By Emily Dendinger
Directed by Jessica Hutchinson
Storefront Theater, 66 E. Randolph St., Chicago (map)
Through Sept. 26 | Tickets: $15–20 | more info
Reviewed by Leah A. Zeldes
When you’re creating a work of historical fiction, the most important part lies in getting your history straight. Lacking grounding in its period and riddled with historical anachronisms that distract from the drama, LiveWire Chicago Theatre’s Hideous Progeny, a new play by Emily Dendinger now at Storefront Theater in the Loop, loses coherency.
Set at the Lake Geneva, Switzerland, house rented by George Gordon Byron during the summer following the Romantic poet’s self-imposed exile from England, Hideous Progeny focuses on the probably apocryphal tale of the horror-story competition said to have inspired the novel "Frankenstein" by Mary Wollstonecraft Godwin, who was staying near Byron with her lover, poet Percy Byshe Shelley.
It starts out well, with Anders Jacobson and Judy Radovsky’s lovely period set — a library scene with a tall, laddered bookcase, an upright piano, a small writing desk, a billiards table and brocade curtains framing leaded-glass windows from which flashes of lightning suggest the unpleasant weather of "The Year Without Summer.” Yet that’s all that evokes the early 19th century. Little about the play’s costumes, dialogue or acting brings to mind British gentry of the 1800s.
Hideous Progeny takes place in 1816, the height of the British Regency, a highly distinctive period when Beau Brummell dictated London fashions. Not only do Laura Kollar‘s costumes rarely flatter their wearers, they appear historically incorrect. Shelley looks like a 1950s frat boy. It’s unlikely that any Englishwoman of the time, no matter how bohemian, would have sported nose jewelry or an ankle chain, as Mary Godwin does here.
Nor would any lady of 1816 have worn a dress with a zipper, which had yet to be invented and wasn’t on the market until after the Universal Fastener Company was organized in Chicago in 1894. Normally, I wouldn’t quibble over minor costuming details, but it becomes impossible to overlook this gaffe in a scene during which the dress is unzipped.
The script, too, contains its share of historical slipups. Byron is constantly drinking "merlot," which the real poet could not have done in Switzerland in 1816. Varietal names for wine were a New World marketing ploy that began in the 1970s — even today, European wines are largely labeled by geographic region — and the merlot grape was used only as a secondary blending variety until late in the 19th century. It puzzles me why the playwright, deciding she needed to mention a specific wine over and over again, didn’t trouble to look up one fitting her period.
Dendinger also plays with the historical facts of her characters. In another peculiar error, Shelley claims to possess a title, like Lord Byron’s.
Byron supposedly misses his young daughter "whose mother has taught her to confuse the meanings of the words ‘papa’ and ‘Satan,’" and expresses his hopes that she’ll join him if his wife "refuses the divorce." Yet in fact, Byron most reluctantly agreed to legal separation from his wife, Anne Isabella Milbanke, and their child would still have been a babe in arms whom he’d not seen since a month after her birth the previous December.
Byron wrote poignantly of his daughter Ada in the third canto of "Childe Harold’s Pilgrimage," but no evidence suggests he ever tried to gain custody, despite English law giving fathers all rights. The play deals with this by hinting at dark accusations Lady Byron might have brought against him. but never mentions them directly. (Byron was accused in his lifetime of committing incest with his half sister. It’s also rumored that he was bisexual and engaged in sodomy with both male and female partners.)
There’s nothing wrong with altering history for the sake of drama … if it works. This doesn’t ring true. The arrogant Byron of this play seems unlikely to pine for an infant he’d barely seen, particularly given his callousness when his current bedmate turns up pregnant.
While those familiar with the subjects will be troubled by the play’s lapses from history, Dendinger offers little help as to who’s who for those who don’t already know the saga of this menage. Besides Godwin and Shelley, Byron hosts his private physician, John William Polidori, depicted as a klutz with a crush on the Swiss maidservant, Elise, and Jane "Claire" Clairmont, Godwin’s younger stepsister, with whom the disdainful lord is sleeping. Clairmont has possibly also been intimate with Shelley — at any rate, she’s lived with him and her sister ever since the then 17-year-old Godwin ran off with the still-married Shelley just over two years previously.
Although some of the dialogue comes directly from the historic writers’ published words, Jessica Hutchinson directs her cast — Patrick King as Polidori, Tom McGrath as Shelley, Danielle O’Farrell as Clairmont, John Taflan as Byron and Hilary Williams as Godwin — as if they were playing in a modern soap opera. Only Madeline Long, as the French-speaking Elise, ever seems to shed a contemporary American persona.
If the out-of-period elements were meant to convey some connection to the present day, it’s too subtle. The production’s video trailers suggest that a spicier contemporary concept might once have been envisioned, yet the effect we get in the production as staged is that they spent so much money on the set, they couldn’t afford appropriate costumes, dramaturgy or a dialect coach.
Godwin, pregnant with her third child by Shelley, spends the play glowering, moody and jealous of Shelley’s relationship with Clairmont and prone to verbal jousting with Byron, who tends to bait her about her ur-feminist mother, Mary Wollstonecraft, author of "A Vindication on the Rights of Woman." She’s still troubled over the death of her first, premature baby and rants about herself as a "death bride." Byron, however, forms the centerpiece of the play, portrayed as a morose and self-centered jerk. Shelley never really comes to life at all.
Nor does "Frankenstein." While watching writers write makes for boring theater, we get very little of what inspired the classic novel or Godwin’s thoughts as she created it, save for an intriguing scene in which Godwin and Polidori repeat an experiment by 18th-century biologist Luigi Galvani showing the effects of electrical impulses on a frog.
Besides "Frankenstein," the fateful summer of 1816 brought us Polidori’s seminal novel, "The Vampyre"; Shelley’s early ode, "Hymn to Intellectual Beauty"; and Byron’s eerie "Darkness"; all of which get short shrift from the playwright.
In the end, we’re left with a jumbled slice of meaningless, not-very-accurate life.
Willkommen to a darker, sexier ‘Cabaret’
|The Hypocrites Theatre presents|
reviewed by Keith Ecker
The first thing you will notice about The Hypocrites’s production of Cabaret is the genderbending. The scene-stealing role of the emcee, who has been played by everyone from Joel Gray to Alan Cumming to Neil Patrick Harris, is now played by a woman (Jessie Fisher). And whereas the men always brought a certain effeminacy to the role, Fisher brings a cocky butchness without sacrificing her sensuality.
You could view this casting call as a way to pander to a more general audience, eliminating the homosexual overtones of the show’s ringmaster. But The Hypocrites’ version of the piece is still rife with in-your-face graphic gay sexuality, from the lingering kiss between the American Cliff (Michael Peters) and one of the cabaret boys to the completely unsubtle choreography, which includes a lot of mock copulation.
In fact, if anything, the choice to womanize the emcee adds an additional thematic element to the play, one that promotes the strength and courage of women and the misogyny of the Nazi state. This is most effective during the song “I Don’t Care Much.” Director Matt Hawkins places four masked Nazi soldiers around the emcee who watch her with cold, dead eyes. The emcee staggers around the stage, spitting at the men as she taunts them with the lyrics of the song, knowing full well that she is writing her own death sentence.
Fisher exudes confidence as the nightclub’s central figure She also has a clever wit, ad-libbing occasionally during some of the more light-hearted numbers such as “Willkommen.” Like her carriage on stage, her voice is vigorously energetic, proving to be one of the strongest in the cast.
Lindsay Leopold plays the manic Sally Bowles with feral-like fierceness. The character of Sally spans a spectrum of emotion, oftentimes displaying two distinct feelings at once: her external exuberance and her inner depression. Leopold straddles this spectrum well. For example, her rendition of “Cabaret” is not the joyful melody you may recall from the movie. Rather, it’s a melancholy rendition made all the more poignant when contrasted with the upbeat lyrics.
The costumes in the musical are basically a character unto themselves. Costume designer Alison Siple creates a cohesive aesthetic that combines ruffles and rags with garters and lace. The women look simply fantastic. However, the men did not get the same treatment. Whereas the women’s flamboyant costumes genuinely reflect the sexy cabaret atmosphere, the men’s costumes seem more like cartoonish afterthoughts.
Hawkins direction is superb. The play moves along quickly, juggling various plotlines from the rise of the Nazi regime to Sally’s love affair with Cliff to the engagement of the landlady Frau Schneider. But it never feels hurried. The staging is also impressive. At the beginning of the play, the cabaret girls make grand entrances by sliding down poles, while near the end, the faceless Nazi guards stand menacingly along the catwalk above the stage.
The play is also done in a cabaret setting, providing ample intimacy for the audience and performers. Although most of the audience is relegated to risers, a few lucky patrons are able to sit at tables along the stage.
The Hypocrites Theatre’s production of Cabaret is dark, sexy and fabulous. If you’ve never had the opportunity to see the play in an intimate, cabaret-like setting, this is your chance. With great direction, singing and revealing costumes, the show will titillate and entertain before crash-landing into its inevitable, disturbing conclusion.
The (edward) Hopper Project - The Storefront Theatre
24 Hour Project - Infamous Commonwealth Theatre
The Artist needs a Wife - the side project
I Hate Hamlet - Big Noise Theatre
Killer Joe - Profiles Theatre
Kink - Annoyance Theatre
Mamma Mia! - Rosemont Theatre
Mary’s Wedding - Rivendell Theatre Ensemble
The Original Improv Gladiators - Corn Productions
Out of Order - Metropolis Performing Arts Centre
The Prisoner of Second Avenue - Citadel Theatre
Private Lives - Chicago Shakespeare Theater
Sleeping Beauty - Winnetka Theatre
Some Paradise - Annoyance Theatre
The Wedding - TUTA Theatre Chicago
Chicago Sketch Comedy Festival - Chicago SketchFest
Death of a Salesman - Raven Theatre
It Came Upon a Midnight Queen - Chemically Imbalanced Theater
A Look Through Our Eyes - Gorilla Tango Theatre
Sketch and Sniff - Gorilla Tango Theatre
A Very Merry Unauthorized Children’s Scientolgy Pageant - A Red Orchid Theatre
|»»||Opening next week - “The Arab-Israeli Cookbook“, presented by Theatre Mir, brings Arab and Israeli voices together in the stories of ordinary people living in a rich yet divided world in Israel and the West Bank. Based on real-life interviews by playwright Robin Soans and directors Tim Roseman and Rima Brihi, this deeply human play weaves the stories and recipes of more than forty characters who reveal common culture and experiences amidst the daily conflict. In restaurants, shops, cafes, and homes, everyone has a story to tell and a recipe to cook. “…Cookbook” runs March 5 – April 5 at the DCA Theatre in the Loop. More info here.|
Ra Joy, Executive Director, Illinois Arts Alliance (IAA)
|»»||Ra Joy, Executive Director of the Illinois Arts Alliance (as well as artist!), speaks out about the importance of arts advocacy; speaking out and supporting the arts and arts-friendly policies.|
|Developed out of CAR’s Incubator program, Rasaka Theatre Company, the Midwest’s first South Asian American ensemble, will present the nation’s first South Asian short play festival on March 30th at 7:30pm, at the downtown DCA Studio Theatre. All of the short plays were created during Rasaka’s first annual ‘Playwrighting Bootcamp’ held over a weekend in August 2008. (Buy tix here)|
Workshops for Arts Organizations and Individuals:
Key organizations who provide assistance to artists and arts organizations:
• The Actors Fund • Arts & Business Council of Chicago • Chicago Artists’ Coalition • Chicago Department of Cultural Affairs • Chicago Dance and Music Alliance • Chicago Filmmakers • Chicago Music Commission • Columbia College Chicago eCenter • Executive Service Corps • Guild Literary Complex • Illinois Arts Alliance • Illinois Arts Council • Independent Feature Project • Lawyers for the Creative Arts • League of Chicago Theatres • Links Hall • NARAS – The Recording Academy • Reeltime • UIC Health in the Arts Program •