Tag: Hank Hilbert

Review: Devil Land (UrbanTheater Chicago)

Tricia Rodriguez stars as Destiny in UbanTheater Chicago's world premiere of "Devil Land" by Desi Moreno-Penson, directed by Hank Hilbert. (photo credit: Anthony Aicardi)        
      
Devil Land

Written by Desi Moreno-Penson
Directed by Hank Hilbert
UrbanTheater Chicago, 2628 W. Division (map)
thru April 6  |  tickets: $10-$20   |  more info
       
Check for half-price tickets 
    
        
                   Read review 

March 20, 2014 | 0 Comments More

Review: The Binding (Theatre Y)

Arch Harmon, Margaret Kustermann and Andrew Schoen star in Theatre Y's "The Binding" by Evan Hill, directed by Melissa Lorraine. (photo by Devron Enarson)        
      
The Binding

Written by Evan Hill
Directed by Melissa Lorraine
at Saint Luke’s, 2649 N. Francisco (map)
thru Nov 3  |  tickets: $15-$20   |  more info
       
Check for half-price tickets 
    
        
                   Read review
     

October 14, 2013 | 0 Comments More

Review: The Night of the Iguana (The Artistic Home)

John Mossman and Miranda Zola star in The Artistic Home's "The Night of Iguana" by Tennessee Williams, directed by Kathy Scambiatterra. (photo credit: T.C. Knight)         
       
The Night of the Iguana 

Written by Tennessee Williams 
Directed by Kathy Scambiatterra
Artistic Home Theatre, 1376 W. Grand (map)
thru May 5 May 25  |  tickets: $32   |  more info
       
Check for half-price tickets 
    
        
        Read entire review 
     

April 3, 2013 | 0 Comments More

Review: Idomeneus (Sideshow Theatre)

The ensemble of Sideshow Theatre Company’s production of "Idomeneus" by Roland Schimmelpfennig, translated by David Tushingham and directed by Artistic Director Jonathan L. Green.  (photo credit: Jonathan L. Green.)       
      
Idomeneus 

Written by Roland Schimmelpfennig
Translated by David Tushingham
Directed by Jonathan L. Green 
DCA Storefront Theater, 66 E. Randolph (map)
thru Sept 23  |  tickets: $25   |  more info
       
Check for half-price tickets 
    
        
          Read entire review
     

August 24, 2012 | 1 Comment More

Review: The Ghost Is Here (Vitalist Theatre)

Hank Hilbert, Dwight Sora, Eliza Shin and John B. Leen in Vitalist Theatre’s “The Ghost is Here”. Photo by John W. Sisson, Jr.       
      
The Ghost Is Here 

Written by Kōbō Abe 
Translation by Donald Keene 
Directed by Jaclynn Jutting  
DCA Storefront Theater, 66 E. Randolph (map)
thru Feb 19  |  tickets: $15-$25   |  more info
       
Check for half-price tickets  
         
           Read entire review
     

January 15, 2012 | 0 Comments More

Review: Sonnets for an Old Century (UrbanTheater)

     
     

Like life, ‘Sonnets’ is a bumpy ride

     
     

Scene from UrbanTheater's 'Sonnets for an Old Century'.

   
UrbanTheater Company presents
 
Sonnets for an Old Century
  
Written by José Rivera
Directed by
Madrid St. Angelo i/a/w Juan Castaneda
at
Steppenwolf Garage Theatre, 1624 N. Halsted (map)
thru April 24 |  tickets: $20   |  more info  

Reviewed by Keith Ecker

Chicago has a vast and virtually unknown storytelling scene. Shows like The Moth, 2nd Story, Story Club, Stories at the Store, This Much Is True and Essay Fiesta feature the best writers and storytellers in the city. As a member of this scene (and Essay Fiesta producer), I see at least a dozen personal monologues performed each month. You would think that after hearing more than 100 narratives, I’d become jaded. However, I’d argue that the opposite is true. My appreciation for genuine and honest storytelling continues to grow and appears to be without bounds. Conversely, my bullshit detector has become highly attuned.

Scene from UrbanTheater's 'Sonnets for an Old Century', now playing in Steppenwolf's GarageRep series. Photo: Peter CoombsI mention all this because Sonnets for an Old Century, the new UrbanTheater Company production that’s part of the Steppenwolf Garage Rep, is a storytelling showcase. The play, written by José Rivera, consists of a series of monologues told by the recently deceased. The stage is their purgatory, and it is here that each provides commentary on the life he or she has lived, both the good and the bad. So in essence, these monologues—or free-verse sonnets—are personal narratives, even if the narratives are fictional.

Overall, Sonnets is an incredibly inconsistent show. There are moments where the monologists hit their high notes, striking genuine emotion. In these rare scenes, you can sense the actor is digging deep, plucking an honest chord from within and relaying that to the audience from behind the mask of the character. It is also in these scenes where the dialogue rises above contrivance and overwroughtness to become something real and relatable.

Unfortunately, there are far too many monologues in which the diction is absurd, even spiraling into laughable territory. Lines like "ecology of the spirit" and "rhythm of vegetables" could work if they weren’t delivered with such grave seriousness. Nobody talks like this, not even poets—or at least good poets. The actors struggle when assuming these pretentious characters, often falling into the trap of indicating rather than acting. But can you blame them? Nobody can relate to a clunker of a line like the "fallopian tubes of her mind." How can the actors find a place of genuine feeling when lines like this are the antithesis of genuine feeling?

But let’s get back to the highlights. There’s a beautiful monologue delivered by actor Hank Hilbert. He plays an actor who, in life, kept his homosexuality and his AIDS diagnosis hidden from most of the world. The language of the piece is pedestrian, though it still retains its power. There is humor as well as poignancy. There is action as well as characterization. It has all the makings of a great narrative.

Another highlight is provided courtesy of Christian Kain Blackburn. His character talks about sin, and attempts to justify his earthly behavior, which in life included drug and alcohol abuse. He then gives a riveting speech about his invalid father and the pain of watching the man grow old, weak and helpless. Blackburn pulls from the gut and succeeds in delivering one of the most compelling sonnets of the production.

     
Gino Marconi in a scene from UrbanTheater's 'Sonnets for an Old Century', now playing in Steppenwolf's GarageRep series. Scene from UrbanTheater's 'Sonnets for an Old Century', now playing in Steppenwolf's GarageRep series. Photo: Peter Coombs
Scene from UrbanTheater's 'Sonnets for an Old Century'.  Photo: Athony Aicardi Scene from UrbanTheater's 'Sonnets for an Old Century', now playing in Steppenwolf's GarageRep series. Photo: Peter Coombs Scene from UrbanTheater's 'Sonnets for an Old Century', now playing in Steppenwolf's GarageRep series.

Despite these shining moments, and a few others, the play’s inconsistency detracts from its overall quality. Each character need not deliver his or her monologue in a similar voice – that would be a sign of a non-dynamic writer. But the style should remain consistent. You can’t go from real-world dialogue to slam poetry and expect us to think these characters exist in the same universe. Perhaps if director Madrid St. Angelo addressed these style shifts, there would be more cohesion and a better end product.

The reason why the aforementioned storytelling series are successful is because they strive to tap into a place of vulnerability without the protection of pretense. Sonnets for an Old Century will probably turn off quite a few audience members because of just how much it clings to its loftiness. If the actors and director could find a way to make each piece vulnerable, despite the laughable dialogue, this would be a much more powerful play.

  
  
Rating: ★★½
  
  

Scene from UrbanTheater's 'Sonnets for an Old Century'.  Photo: Athony Aicardi

GarageRep continues through April 24th, with performances Wednesdays through Sundays at 8 pm; Saturdays and Sundays at 4 pm; with a three-show marathon on Sunday, April 24 at 1 pm, 4pm & 8 pm.  For more info, go to Steppenwolf Theatre’s 2011 GarageRep page.

 

Artists

Featuring: Jennifer Walls, Alex Polcyn, Christian Kain Blackburn, Gino Marconi, Gabi Mayorga, Shannon Matesky, Hank Hilbert, Rashaad Hall, Marilyn Camacho, Paloma Nozicka, Dru Smith, Marvin Quijada, Meghann Tabor, Phillip E. Jones, Arthur Luis Soria, Sojourner Zenobia Wright, Mike Cherry, Whitney Hayes and Amrita Dhaliwal.

       
        

What is GarageRep??

February 26, 2011 | 3 Comments More

REVIEW: “Cuba and His Teddy Bear”

Chilling and tragic examination of father-son dynamics

cuba-teddy-bear2

UrbanTheater and People*s Theater of Chicago presents:

Cuba and His Teddy Bear

by Reinaldo Povod
directed by Marilyn Camancho
thru December 13th (ticket info)

review by Oliver Sava

Joseph-CubaA family drama in unfolding at Humboldt Park’s Batey Urbano (map), the storefront theater currently home to the midwest premiere of Reinaldo Povod’s Cuba and His Teddy Bear. At the heart of the dysfunction is Cuba (Madrid St. Angelo), a small time drug dealer, and Teddy (Christian Kane Blackburn), Cuba’s artistic son with a major monkey on his back. When Cuba’s friend Jackie (Hank Hilbert) unloads two pounds of marijuana on the pair, drug dealing becomes family bonding, but it’s only a matter of time before things go to hell. The buyer that Teddy has lined up, heroin addict/Tony award winning playwright Che (Julian Martinez), has no intention of paying for the product, and he’s brought along the Dealer (Kamal Han), a stickup artist who walks with a skull-adorned cane due to of an abscess in his leg from repeated injections.

If your character is in the title of the play, you better be damn good. Luckily, St. Angelo and Blackburn are. The success of the production hinges on the relationship of these two characters, and the two actors have great chemistry that comes from having truly explored the circumstances of these characters. St. Madrid plays Cuba with equal parts concerned family man and dangerous drug dealer, creating an incredibly realistic portrait of a father trying to do the best he can with the limited skills he has. Cuba tells Teddy that if he wants to do drugs he can just ask him and they’ll do them together. He wants his son to become a federal agent because it’s good, honest work. Cuba sees the potential in his son and when he sees it being extinguished it drives him to the edge of sanity; the play’s climax is a tense standoff between father and son that ends in a gunshot and a flood of tears.

teddybear1 teddybear3

Blackburn’s Teddy has an introverted intensity throughout Act I that hints at the character’s secret shame, and watching him confront his demons in Act II is heartbreaking. He grooms his father with a gentle touch that is both tender yet unnerving, and the character’s willingness to throw away his future in exchange for human affection is fully realized by Blackburn, especially in the scene with Martinez’s Che. Martinez, dressed like a pachuco with two huge black circles around his eyes, is wonderfully menacing and tragic, content with living on a Central Park bench and exploiting the emotions of misguided youth so he can score. When Teddy tells Che, "You should come to me because you want to see me, not because you want to get high," the audience knows that will never be the case, and so does Teddy, but he clings to his desires in the face of utter futility.

The biggest flaw with the production is the length – the playwright’s ambitious script packs so much material in two and a half hours that the weight begins to slow down the pace and lessens the casts energy. The show could use about a half hour of cutting, but the ensemble that director Marilyn Camancho has assembled captures the gritty intensity of Povod’s script, resulting in a chilling examination of father-son and dealer-junkie dynamics.

 

Rating: ★★★

 

November 27, 2009 | 0 Comments More