Tag: Kristoffer Diaz

Review: The Elaborate Entrance of Chad Deity (Red Theater)

Semaj Miller and Alejandro Tey star as Chad Deity and Mace at Red Theater            
      

The Elaborate Entrance
  of Chad Deity

Written by Kristoffer Diaz
Strawdog Theatre, 1802 W. Berenice (map)
thru Sept 16  |  tix: $0-$40  |  more info
       
Check for half-price tickets   
     

August 21, 2017 | 0 Comments More

Review: Chicago One-Minute Play Festival (Victory Gardens)

  
  

OMPF - One Minute Play Festival - Victory Gardens - banner

 

New Festival Showcases Short Works by Local Artists, Sampler-style

 

by Dan Jakes and Oliver Sava

This May 15-16, Victory Gardens premiered Chicago’s first One-Minute Play Festival (OMPF), a benefit event that featured bite-sized works by an eclectic mix of prominent and upcoming local theater artists. Creator and “curator” Dominic D’Andrea originally debuted the series in New York in 2007, where it has since grown to San Francisco and Los Angeles . For its first ever stop in the Midwest, considering the event’s magnitude–50 playwrights, 10 directors, and nearly 60 actors–this year’s showcase demonstrated promising potential for an exciting annual Chicago theater institution.

That is, if it finds a stronger footing. Micro-plays are nothing new, especially in the Windy City, long-time home to the Neo-Futurists’ Too Much Light and Second City; one set the bar for two-minute plays, and the other made one-joke flash bits a sketch trademark. D’Andrea and producer Will Rogers’ OMPF also rides off the larger 10-minute play trend. Their efforts to boil down theater even further, though, prove to be fruitful–sometimes even enlightening. Below is a list of the night’s highlights.

Paper Airplane, Aaron Carter  

     
   The finest piece in the festival. A young boy expresses his anguish over his father’s looming death while tossing folded paper planes across the stage. His ability to speak is limited to the papers’ flight, leaving him choked and frustrated with each audible crash landing. In less than a minute, Carter encapsulates the panic of grief, and animates the cruel handicap children endure to express pain. Those planes approached visual poetry.

Two Vegans, Robert Tenges

     
   A couple engaged in love making–some of it hilariously acrobatic–get their kink on by dirty-talking their favorite (or to cool things off, least favorite: (“raw kale…raw kale!”) foods. At first, it’s funny nonsense. Then, after you uncomfortably internalize your own link between taste/sexual satisfaction, it’s hysterical.

A Play, Kristoffer Diaz

     
   You’re the hero in this monologue. The audience member to your right is the protagonist. Your left, the antagonist. Diaz’s simple, straight-forward instructions don’t feel like a gimmick. His inconclusive end ponders some sophisticated ideas about the broader implications of storytelling, ones that resonate long after the play’s 60 seconds are up.

The Last Walk, Lisa Dillman

     
   Sad pets are an easy go-to for emotional impact…but that doesn’t make using them any less effective. A dog reminisces about the good days with her very recently deceased owner. Confused, she brushes up against his dead body for affection…and if you don’t cry a little at the thought of that, then you’re a monster. Only a few high-pitched “aw’s” were heard in the house during an otherwise hushed fade-to-black.

Inequity, Jake Minton

     
   Penis envy comes early for two little boys (played by full-grown adults, of course) in a school bathroom: One stands proud, pants down and bare-butted at a urinal, while the other sits devastated, hiding his…well, you know. Minton makes a nice little joke about men’s biggest insecurity.

Haiku Fight, Caitlin Montanye Parrish

     
   A couple hashes out an argument by having a refereed 8 Mile-style slam, with Japanese poetry filling in for hip-hop. It’s a simple, wonderfully clever juxtaposition of the writing form’s serenity versus the needling aggravation of a relationship fight.

This Just In, Stephen Louis Grush

     
  Liberal sensibilities about prejudice get turned over on their heads when one easily dismissible stereotype gets paired with one that’s equally unfair, but–for many viewers–may hit a little closer to home. Those might sound like the makings for a didactic issues play. With the right amounts of humor and levity here, they aren’t.

Bag Thief, Laura Jacqmin

     
   A mix-up at an airport luggage carousel leads to suspicion and accusations. Jacqmin doesn’t quite know how to end her play–what she settles for lets the air out of its balloon and betrays her otherwise solid work. Up until the final seconds, though, it’s fun stuff watching two men calmly navigate each other’s logic and contemplate one another’s mind games.

Blackout, Chisa Hutchinson

      
   As the name suggests, Hutchinson’s play takes place with the house and stage lights off. Her monologue discusses nyctophobia (fear of darkness) in friendly, clinical terms. Once she starts in about the ghastly things you could be imagining, it’s hard not to nervously giggle and realize you’re an adult who’s once again–briefly–afraid of the dark.

In Not Our Finest Hour, Andrew Hinderaker

     
   You can spot a gag coming within the first few seconds of this context-free comedy. A line of actors take a swig from a water bottle and pass it on. Anticipation builds; titters slip. The fact that the punch line is exactly what you’d expect compounds the simple humor in this satisfying, straightforward piece.

Wisconsin, Andrew Hinderaker 

     
   Anyone who’s experienced the unique isolation of a rural Midwest winter can attest to the truth and melancholy spoken in this eloquent monologue. A young man describes a blackened hand rising out of the snow. Hinderaker’s vivid image is striking on conflicting levels–it’s unsettling, somber, and in its own way, serene.

Free, Zayd Dohrn

     
   A United States Marine quietly bemoans the chaos of modern war and rejects America’s authoritative façade. His speech is upsetting for all the obvious reasons, and for some less common: notably, the futility of humanitarian efforts and the false hope instilled by the military’s hierarchy.

A Short Story, Emily Schwartz 

     
   A narrator gives up on his own story, much to the protagonist’s chagrin. Schwartz’s non-story leaves the nameless hero waiting and frustrated as the nonchalant storyteller signs off on her would-be adventure. Smart, funny metatheater.

Love Play for Two Chairs, Seth Bockley 

     
   When you think about chairs having sex (though in any other context, why would you?) the word “whimsical” probably doesn’t come to mind. And yet, like an x-rated Fantasia, Bockley and director Jeffrey Stanton achieve just that. Annoyed by the noise of his enchanted furniture getting it on, an apartment owner sets out to end his two chairs’ tryst. His solution is delightfully absurd–the fact that it’s irresistibly adorable makes matters even stranger.

Unsolicited Advice for Next Year’s Fest

Now that the One-Minute Play Festival has taken its first entertaining, successful baby steps in Chicago, here’s what we at we’d would like to see from the show in its future incarnations…

A Greater Assortment of Styles:

Only a few plays in 2011 were noteworthy for really bucking traditional conventions. The message in Gloria Bond Clunie’s Falling about resilience in the face of natural disasters, for instance, wasn’t particularly moving or inspired, but her play stood out from its peers for its striking use of projections and puppetry. That left us with a question: How can the other works of 50 unique artists have looked so homogeneous? Talking animals, inner-monologues, contentless scenes and gripes about public transit bore the brunt of too many shows. No movement pieces? No one-minute musicals? Festival organizers take pride in the lack of dictated thematic guidelines for the playwrights (as they should). Still, there has to be a way to commission a more diverse body of work.

Super-titles:

Many of the short plays benefited from having the names of the shows known; some even took on new light. Dimmed houselights and tiny program font made seeing them impractical–unless you were really straining, you had to do without. An inexpensive or creative way to integrate the show names could further enrich the work.

Clear Intent Behind Curation:

Was there or was there not an intended arc to the evening? We couldn’t tell. Directors took on about 10 plays each, and their pieces were presented together in ten unique “clumps.” The order that clumps were presented in and the plays within them, though, did not have an obvious flow. Perhaps one wasn’t intended–regardless, having one might keep the night as a whole engaging.


The Chicago One-Minute Play Festival is produced as a benefit for Victory Gardens Fresh Squeezed, their alternative programming and audience engagement initiative. With a shared mission, both Fresh Squeezed and the festival aim to represent a wide and diverse range of playwrights, actors, and directors working in the great city of Chicago.

Reviewers: Dan Jakes and Oliver Sava

     
     
May 26, 2011 | 0 Comments More

REVIEW: Welcome to Arroyo’s (American Theatre Company)

Arroyo’s could use a remix

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American Theatre Company presents
 
Welcome to Arroyo’s
 
by Kristoffer Diaz
directed by
Jaime Castaneda
at ATC, 1909 W. Byron
(map)
thru May 16th  |  tickets: $35  |  more info

reviewed by Barry Eitel

If there was any winner coming out of the recent Pulitzer prize controversy (besides the actual winner, Next to Normal), it would be American Theatre Company. In case you are an actual person and not addicted to theatre blogosphere chatter, basically the Pulitzer Board awarded the prize to a piece that wasn’t a finalist recommended by the Drama Jury. The Jury did, however, recommend Kristoffer Diaz’s The Elaborate Entrance of Chad Deity, (our review ★★★½) which enjoyed plenty of praise for its world premier at Victory Gardens here in Chicago last summer (and I’m kicking myself for missing).

arroyos-dj Why does ATC come out on top? Because months ago, they scheduled the world premier of Diaz’s first play, Welcome to Arroyo’s, therefore serendipitously landing upon a bunch of free publicity. And the opening Monday was buzzing with anticipation—perhaps expectations were too high. While Diaz’s earliest play is tons of fun, it is clearly a stepping stone.

Set in 2004 New York City, the play wanders between three plotlines. Mostly, it follows the trials of green entrepreneur Alejandro Arroyo (the gruff but lovable Joe Minoso) as he tries to attract customers to his brand new bar, transformed from his late mother’s bodega. We also watch his sister Amalia (Christina Nieves) practice and protect her art: graffiti. A romantic yet hostile spark flashes between her and, ironically, a police officer (Edgar Miguel Sanchez). Lastly, Lelly Santiago (Sadieh Rifai) complicates everything with her tireless search for a mythic founder of hip hop, Reina Rey—a Puerto Rican woman who might have very intimate connections with the Arroyos.

Diaz’s problem is that neither of these stories have a whole lot of forward motion. In theory, each of the subplots is powerful and thought-provoking, but the play is spread too thin among the three. No through-line has much momentum on its own, and they don’t really push each other that far. Lelly’s pursuit, for example, is engaging, but unfocused. I was never quite sure what she actually wanted or what was in her way. And once Lelly and Alejandro meet up, Diaz’s dialogue falls into a metaphysical hole, becoming far too abstract to keep audience along.

Arroyo’s momentum is ferociously spun forward by the antics of Jackson Doran and GQ, who save the play from drowning in headiness. Respectively playing Trip and Nelson, Arroyo’s in-house MCs, these two serve as narrators, commentators, characters, and clowns. They keep the work fun and fresh with their theatrical hijinks, and they could’ve been used even more.

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Even if the play isn’t that brilliant, director Jaime Castaneda and cast do their best to keep the production’s flow swift and funky, like any good hip hop cut. Minoso can be almost childlike in his portrayal of Alejandro, but he keeps his wits about him, especially when he’s interacting with Trip and Nell. Nieves, though sometimes grating, is fun to watch and brings plenty of swagger. Rifai’s Lelly is the least believable, partly due to Diaz’s shaky writing and partly because of Rifai’s overcompensation.

Yes, I’m a white kid from rural Michigan, but I love my hip hop. This is why I was probably so attracted to Diaz’s attention to urban bravado. Arroyo’s is slick, but not afraid to get goofy. Keith Pitts’ stylish set definitely helps. The play has some crucial errors, but it’s a great ride. Diaz and Castaneda have hit on something, they just need to clarify, streamline, and remix. ATC have landed in buzzworthy territory, but the end product calls for some polishing.

 
 
Rating: ★★½
 
 
April 22, 2010 | 0 Comments More

New works by Diaz, Jacqmin to premiere Monday at ATC

The Silver Project arrives at ATC

A free performance  of new short works by Kristoffer   DiazSteve Harper, Laura Jacqmin, Joel Drake Johnson and Justin D.M. Palmer are slated to premiere Monday, March 1 as  part of the second installment American Theatre Company’s  Silver Project.   Tickets are free for the event,  which starts at 7:30 p.m. at  the theater, 1909 W. Byron, but reservations are requested. To make a reservation, call  773/409-4125. More information is available on the ATC web site, www.atcweb.org.

 The Silver Project is part of the company’s ambitious year-long 25th Anniversary celebration. To mark the milestone, Artistic Director PJ Paparelli asked over 30 playwrights across the country to choose a year between 1985 and 2010 and to write a short play about that year. The works will all explore ATC’s mission by delving the query “what does it mean to be an American?” All 30 premieres will be presented in five parts throughout the year and as a complete cycle during the National Theatre Communications Group’s conference June 16-20, 2010.

Part 2 of The Silver Project explores domestic issues in America between 1988 to 2001.

The March 1 program will include:

Year 1991: There are Lessons to be Learned, written by Joel Drake Johnson, directed by Laura Hooper.

Year 1988: The Third Date, written by Justin DM Palmer, directed by Megan Schuchman

Year 1992: Shaquille O’Neill and Christian Lattner Discuss, written by Kristoffer Diaz, directed by Eddie Torres

Year 1996: Cow, written by Laura Jacqmin, directed by Edward Cisneros

Year 2001: Love War Death Life, written by Steve Harper, directed by Jeffry Stanton

Read about the playwrights after the fold:

February 27, 2010 | 0 Comments More

Chris Jones announces 10 best plays of 2009

The Tribune’s Chris Jones announces Top 10 Plays of 2009

For the complete description, explanations and reviews of these plays (and others), be sure to visit Chris Jones’ excellent blog: The Theater Loop


1. The Arabian Nights by Mary ZimmermanLookingglass Theatre  (our review)

 

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2. The History Boys by Nicholas HytnerTimeline Theatre 

 

3. The Overwhelming by J.T. RogersNext Theatre 

4. The Elaborate Entrance of Chad Deity by Kristoffer DiazVictory Gardens (our review)

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5. Blackbird by David HarrowerVictory Gardens (our review)

 

6. Cabaret by Kander and EbbDrury Lane Oakbrook (our review)

 

7. The Mystery of Irma Vep by Sean GraneyCourt Theatre (our review)

 

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8. Graceland by Ellen FaireyProfiles Theatre (our review)

 

9. Oh Coward!devised by Roderick CookWriters’ Theatre (our review)

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10. Stud Terkel’s Not WorkingSecond City e.t.c.

 

Chris Jones’ list of 10 shows that “should have made the list”

Desire Under the ElmsGoodman Theatre

Little Foxes Shattered Globe Theatre 

Miss SaigonDrury Lane Oakbrook

Old Glory Writers’ Theatre

Our Lady of the Underpass Teatro Vista Theatre

Rock ‘n’ RollGoodman Theatre

Top Dog/Underdog American Theater Company and Congo Square Theatre

 Twelfth NightChicago Shakespeare Theatre 

The 25th Annual Putnam County Spelling Bee Marriott Theatre

December 27, 2009 | 0 Comments More

Review: “The Elaborate Entrance of Chad Deity”

Chad-Deity-2

Victory Gardens and Teatro Vista presents:

The Elaborate Entrance of Chad Deity

by Kristoffer Diaz
directed by Eddie Torres
thru November 1st (buy tickets)
reviewed by Catey Sullivan 

Midway through rehearsals for The Elaborate Entrance of Chad Deity, actor Christian Litke took a foot to the face that landed him in the emergency room, suborbital socket bone beneath one eye pulverized. Opening night, he went on with a Technicolor shiner you could see from the back row. Per Kristoffer Diaz’s strict must-not-look-like-fight-choreography stage directions, Litke proceeded to take another half a dozen “camel kicks” in the kisser – as well as a few spine-rattling power-bombs. As it is in real life, the professional wrestling world depicted in Chad Deity is a brand of fakery that’s truly brutal.

Chad-Deity-1 While audiences aren’t apt to suffer physical damage like Litke, The Elaborate Entrance of Chad Deity is a knock-out victory of equal parts brains and brawn.

Power-bombs (wherein one’s spine hits the floor at a velocity surely spines were not intended to withstand) and lightning-quick roundhouses aside, Diaz’ ground (and bone) breaking take on the world of professional wrestling isn’t rooted in violence for the sake of shock, although it’s plenty violent and often shocking. It doesn’t traffic in the pandering stereotypes that fuel the WWE, although it uses those stereotypes point out their ridiculousness. This is a tale of race, racism and all-American boys grasping at the shiny, illusive brass ring of the All American Dream. It unfolds in hip-hop rhythms and is infused with some of the most politically incorrect language you’ll hear outside a meeting of the Alabama Chapter of the John Birch Society.

In director Eddie Torres, Diaz has a collaborator able to grasp and convey this incendiary material without missing a beat. The script requires a keen ear for both polyglot urban rhythms and the unctuous whitebread idiocy. Torres hears them all, and makes them resonate.

Chad Deity (Kamal Angelo Bolden , looking like the after photo in one of those back-of-the-magazine protein powder ads) is a professional wrestling champ who – as his bigot boss Everett K. Olsen (James Krag, a perfect mix of oiliness and ignorance) likes to say – makes people glad to be American. When Chad wins a fight, the terrorists lose.

But the real hero of Chad Deity is Macedonia Guerra (Desmin Borges, in a breakout performance that should have every agent in town clamoring to meet with him), aka The Mace. Macedonia’s job is to make the likes of Chad Deity look good. Stars like Chad Deity can’t exist without people like the Mace willing to act like they’ve lost every bout. Borges is a wholly endearing mix of self-deprecation and fierce pride. He knows he’s far more intelligent than his boss will ever be. He also knows that all his innate intelligence isn’t worth a slap in a world that prefers its villains and heroes in simple, black and white terms.

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So Mace suits up like a Frito Bandito outfit every fight, declares that he lives to steal American jobs and send American money back to drug lords in Mey-hee-co and lets Chad beat the crap out of him. Because when Chad Deity wins, Americans know why they’re fighting in Afghanistan, E.K. declares. To which the Mace sighs under his bright red sombrero and resignedly shakes his maracas.

For Macedonia, a way up in the wrestling world presents itself in Vigneshwar Padujar (Usman Ally), a multi-lingual Brooklyn-born Indian kid who is, no matter where he goes, “the most amazing thing in the room.” Charisma might owe Chad Deity money, but VP owns the entire fricking bank.

“I’m gonna get you a job,” Madedonia tells VP, and so begins the career of Chad Deity’s next enemy. E.K., in a move so awful it’s hilarious, has VP hit the ring as The Fundamentalist, a “Moslem” who enters flanked by women in burkas and praising Allah. In the lead up to a pay-per-view bout with Chad, the Fundamentalist beats up guys with names like Billy America (Litke, draped in a confederate flag and entering to a blast of Sweet Home Alabama) and The Patriot (also Litke, this time wearing an American flag). The fights manage to be both a tragic commentary on ugly Americans like E.K. and a wildly amusing mockery of them.

As animosity in the ring starts bleeding into real life, the dynamic between wrestlers becomes ever more complicated. As Macedonia worriedly notes, without community among in-ring enemies, wrestling gets dangerous. So as Chad and VP come to despise each other for real, the looming bout between them become fraught with the possibility of unscripted danger.

By having greased up, impossibly muscle-y men tear through the audience waving flags and shouting threats, Chad Deity manages to instigate the kind of audience participation you’d find at ringside at a Vegas championship bout. It’s wildly fun, wickedly funny and deeply provocative. In the so-called fake world of professional wrestling, Diaz captures profundity, adventure, aspirations and true triumph. The result is a theatrical prize.

Rating: «««½

The Elaborate Entrance of Chad Deity continues through Nov. 1 at the Victory Gardens Biograph Theatre, 2433 N. Lincoln Ave. Tickets are $20 – $48.For more information call 773/871-3000 or go to www.victorygardens.org.

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October 14, 2009 | 5 Comments More