Tag: Kelli Simpkins

Review: Men on Boats (American Theater Company)

Lawren Carter, Stephanie Shum and Avi Roque star in Men on Boats, American Theater Co           
      
  

Men on Boats

Written by Jaclyn Backhaus
American Theater Co., 1909 W. Byron (map)
thru Feb 12  |  tix: $38  |  more info
       
Check for half-price tickets   
     

January 12, 2017 | 1 Comment More

Review: The Secretaries (About Face Theatre)

Sadieh Rifai and Meghan Reardon in The Secretaries, About Face           
 

        
The Secretaries 

By The Five Lesbian Brothers
Theater Wit, 1229 W. Belmont (map)
thru June 12  |  tix: $20-$35  |  more info
       
Check for half-price tickets   
     

May 19, 2016 | 0 Comments More

Review: Cocked (Victory Gardens Theater)

Kelli Simpkins and Patrese D. McClain in Cocked, Victory Gardens          
      
   

Cocked

Written by Sarah Gubbins
at VG Theater, 2433 N. Lincoln (map)
thru Mar 13  |  tix: $15-$60  |  more info
       
Check for half-price tickets 

March 12, 2016 | 0 Comments More

Review: Spill (TimeLine Theatre)

Chris Rickett and Justine C. Turner star in TimeLine Theatre's "Spill," written and directed by Leigh Fondakowski. (photo credit: Lara Goetsch)         
      
Spill 

Written and Directed by Leigh Fondakowski
at Stage 773, 1225 N. Belmont (map)
thru Dec 19  | tix: $38-$51  |  more info
       
Check for half-price tickets   
    

October 30, 2015 | 0 Comments More

Review: Teddy Ferrara (Goodman Theatre)

Liam Benzvi and Adam Poss star in Goodman Theatre's "Teddy Ferrara" by Christopher Shinn, directed by Evan Cabnet. (photo credit: Liz Lauren)        
       
Teddy Ferrara 

Written by Christopher Shinn 
Directed by Evan Cabnet
at Goodman Theatre, 170 N. Dearborn (map)
thru March 3  |  tickets: $14-$45   |  more info
       
Check for half-price tickets 
    
        
        Read entire review
     

February 14, 2013 | 0 Comments More

Review: The Kid Thing (Chicago Dramatists, About Face)

     
Rebekah Ward-Hayes, Kelli Simpkins, Park Krausen, Halena Kays
The Kid Thing
 

Written by Sarah Gubbins
Directed by Joanie Schultz  
at Chicago Dramatists, 1105 W. Chicago (map)
thru Oct 16  |   tickets: $32   |   more info

Check for half-price tickets

    Read entire review

     
September 11, 2011 | 0 Comments More

Review: Pony (About Face Theatre)

  
  

Brilliant, fully-committed cast can’t bridle Bruchner’s ‘Pony’

  
  

Kristina Valada-Viars (Marie) and Kelli Simpkins (Pony) in About Face Theatre’s production of PONY by Sylvan Oswald, directed by Artistic Director Bonnie Metzgar.  Photo by Michael Brosilow.

  
About Face Theatre presents
  
Pony
  
Written by Sylvan Oswald
Directed by Bonnie Metzgar
at Chopin Theatre, 1543 W. Division (map)
through May 22  |  tickets: $21-$28  |  more info

Reviewed by Barry Eitel 

Woyzeck was left unfinished when its author Georg Buchner died of typhus at the tender age of twenty-three in 1836. Buchner’s bleak depiction of working class life touched a nerve in 19th Century Germany. Since then, plenty of artists have taken it upon themselves to finish, adapt, and tweak the original, including composer Alban Berg and filmmaker Werner Herzog. Lucky for us, the Chicago theatre community is putting on a Woyzeck smorgasbord this spring, with plenty of chances to see new spins on the story. Oracle Theatre  and the Hypocrites have put on somewhat straightforward versions of the play, but About Face decided to move further away from the Buchner with Pony by Sylvan Oswald.

Kristina Valada-Viars (Marie) and Kelli Simpkins (Pony) in About Face Theatre’s production of PONY by Sylvan Oswald, directed by Artistic Director Bonnie Metzgar.  Photo by Michael Brosilow.Superbly acted and wonderfully designed, I wished that Oswald had stuck closer to the primary source or had ventured further away. What director Bonnie Metzgar ends up with is a derivative tale that is usually engrossing and often funny, but doesn’t really make much sense.

While Buchner was writing about the proletariat, Oswald is writing about gender identification. Every character in the play is either transgendered or interested in one, including Oswald’s stand-in for Woyzeck, Pony (Kelli Simpkins). Added to his woes about money and love, Pony must also deal with being outted in a potentially hostile community.

Pony takes place in the town across the forest from Woyzeck’s world. Instead of Industrial-age Germany, though, Pony’s world looks like a grimy Pennsylvania coal mining town of the 1980s. Everyone is covered in grit and everyone is poor.

Pony rides into town and instantly falls for Marie (Kristina Valada-Viars), a waitress obsessed with the murder that happened on the other side of the woods to a certain other Marie. Marie’s best friend Stel (Jessica Hudson) warns Pony that he better stay out of Marie’s life, which the audience learns is because she also secretly pines for Marie. Looking out for Pony’s well-being is Cav (Janet Ulrich Brooks), an old-school lesbian and the only scientist in town. And while Pony is courting Marie, Heath (Matthew Sherbach) is searching for Pony, laden with family secrets.

Pony is clearly inspired by Woyzeck, but the play goes off on Oswald’s own tangents. Instead of force-feeding peas, Cav subjects Pony to psychological evaluations. Marie ponders how a man can reach the desperation needed to kill the one thing in the world he loves—pretty much the question Buchner sets out to answer in his play. And Pony, like the other titular character, finds himself battered by society. Unfortunately, Oswald is unable to tie these themes together and the play feels more like a musing on the original than its own entity. Pony has difficulty finding a job and is devastated when he finds himself robbed, but he never reaches the utter anguish of Woyzeck. The romance between Pony and Marie is budding, not self-destructing. Oswald doesn’t reach the lower-class rage of Buchner and Pony doesn’t have its inspiration’s weight. By the end, the plot unravels into confusion. The final scene is especially tepid.

The brilliant, fully-committed cast, however, does what they can to keep the story alive. Brooks grabs the audience attention and pulls us along wherever she goes. Simpkins carries the show well, bursting with anger or sheepishly talking to Marie, whatever the script requires. Sherbach, besides some overuse of his hands, adds a great, humorous balance to the mix.

Many of the modern adaptations of Woyzeck, like Collaboraction’s Guinea Pig Solo, focus on the militaristic aspects of the play. About Face takes a different route with taking a hard look at the personal side. But without Metzgar’s awesome cast, the play would fall apart.

  
  
Rating: ★★½
  
  

Matthew Sherbach (Heath) and Kelli Simpkins (Pony) in About Face Theatre’s production of PONY by Sylvan Oswald, directed by Artistic Director Bonnie Metzgar.  Photo by Michael Brosilow.

All photos by Michael Brosilow 

April 27, 2011 | 0 Comments More

REVIEW: In Darfur (Timeline Theatre)

     
     

Timeline illuminates compassion, courage amidst human atrocities

     
     

Hawa (Mildred Marie Langford, left) is reluctant to share the story of what has happened to her with New York Times reporter Maryka (Kelli Simpkins, right) in TimeLine Theatre’s Chicago premiere of IN DARFUR by Winter Miller, directed by Nick Bowling.

  
Timeline Theatre presents
   
In Darfur
  
Written by Winter Miller
Directed by
Nick Bowling
at
TimeLine Theatre, 615 W. Wellington (map)
thru March 20  |  tickets: $28-$38  |  more info

By Catey Sullivan

The peril of collecting firewood in Darfur – an everyday necessity almost as basic as food and water – sums up the horror of a blood-soaked country. Mothers have to choose which of her children to send to collect kindling, notes the humanitarian aid worker in Winter Miller’s drama In Darfur. That choice is one no parent should ever be forced to make.

“If they send their son, he gets killed,” the aid worker explains, “f they send their daughter, she gets raped. So they send their daughters.”

Maryka (Kelli Simpkins, right) tries to persuade Hawa (Mildred Marie Langford, left) to share the story of what has happened to her in TimeLine Theatre’s Chicago premiere of IN DARFUR by Winter Miller, directed by Nick Bowling. Photo by Lara Goetsch.Such heartbreaking decisions are tragically common within the borders of Sudan’s Darfur region, a swath of land about the size of France in northeastern Africa. Statistics are fuzzy, but it’s generally recognized that since 2003, at least 400,000 Darfuris have been killed and over 2 million displaced at the hands of the government-sponsored Janjaweed militia. The number of rapes resulting from the crisis are essentially impossible to count, in part because rape is used as a systemic tool of war and because the shame of the crime is so great (survivors can be later charged with adultery and flogged) that it is likely grossly underreported.

With Timeline Theatre‘s production of In Darfur, director Nick Bowling succeeds in putting human faces to the staggering atrocities. His cast is strong, almost strong enough to overcome the considerable limitations to Mille’s script. Leading the small, tightly woven ensemble: Mildred Marie Langford as Hawa, an English teacher who survives both the murder of her entire family and multiple gang rapes. A deceptively soft-spoken powerhouse, Langford gets a well-deserved showcase with In Darfur. She manages a bravura turn.

The piece is also a near-perfectly realized merger of video footage and traditionally performed drama. Mike Tutaj’s projections succeed in virtually putting the audience smack in the center of the action. The opening scene – a harrowing ride over a rough and roadless terrain amid a hailstorm of bullets – is perhaps the most effective use of video we’ve seen on a stage. Tutaj’s work makes the heat, the dust, the danger and the casualties of war (in one scene, Hawa buries her husband and child in shallow, sandy graves) palpable.

In all, the artistry of both the cast and Tutaj’s projections go a long way toward minimizing the shortcomings inherent to Miller’s drama.

Miller wrote the play after working as a researcher for the New York Times in Darfur. There’s no question but what she saw the atrocities of war first hand while in the region. On her website, Miller recalls walking through villages burned to the ground and turned into ghost towns, speaking with child rape victims less than 48 hours after their assaults, and watching a 20-year-old die after being gunned down over a matter of $200.

     
Mildred Marie Langford as Hawa - In Darfur at Timeline Kelli Simpkins as Maryka - In Darfur, Timeline Theatre

In Darfur centers on three lives that become intertwined during the violence – Maryka, a New York Times reporter (Kelli Simpkins), Carlos, a doctor (Gregory Isaac) and Hawa, a Sudanese English teacher (Langford). The script falters in that Maryka and Carlos are only character types as opposed to fully-formed characters. They seem to exist to present a point of view more than an authentic segment of the narrative. Moreover, some of the dialogue between the reporter and her editor (Tyla Abercrumbie) has the ring of a spoof of The Front Page. And although the dialogue implies conflicts between Maryka and her editor that go beyond whether Darfur is a front page story, they are never even partially delved.

Also problematic: Miller’s structure of having the actors speak in the language of the region, simultaneously translated into English – a kind of living form of subtitles – by other actors standing just off stage. It’s fascinating to hear the words as they would be uttered in Darfur, but the ongoing interpretations add a layer of distance to a narrative that demands intimacy.

Yet for all its drawbacks, In Darfur is compelling. Simpkins brings dark humor, an aggressive edge and a reservoir of compassion to the reporter’s role. As Carlos, Gregory Isaac captures the mix of burned out fatalism and stubborn idealism that come of doing good under hellish circumstances. And Langford brings both a gentleness and a steely, survivor’s resolve to a role that is both physically and emotionally demanding.

A final note: It’s always worth arriving at a TimeLine production early; the company invariably elevates dramaturgy to a level of storytelling on par with the production itself. Dramaturg Maren Robinson’s work for In Darfur is no exception. The lobby is also hosting “Darfur, Darfur,” an astonishing collection of photos from the region. The images are indelibly vivid, provide a rich context for the story on stage and should not be missed.

  
  
Rating: ★★★
  
   

Carlos (Gregory Isaac, left) is a doctor with an aid organization in Darfur who tries to help Hawa (Mildred Marie Langford, right) in TimeLine Theatre’s Chicago premiere of IN DARFUR by Winter Miller, directed by Nick Bowling. Photo by Lara Goetsch

     
     
January 23, 2011 | 0 Comments More