Tag: Matthew Sherbach
Another year, another 12 months of great Chicago theater! 2015 blessed Chicagoland with inspired new works and riveting revivals from a wide range of companies – the largest equity houses to the smallest of the city’s storefronts. Taking into account the 700+ productions that were produced in the Windy City over the last year, here are our reviewer’s picks for the best of the best. Bravo!!
In a theater community as diverse and talented as Chicago’s, every aspect and genre of stage productions can be found throughout the city on a given week. 2015 was no exception to this fact, as one can see from our reviewers’ picks of the year’s greatest and most memorable works.
The Taming of the Shrew
|Around the World in 80 Days
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Brilliant, fully-committed cast can’t bridle Bruchner’s ‘Pony’
|About Face Theatre presents|
|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.
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.
All photos by Michael Brosilow
‘Auctioning’ is a hard sell
|Dog & Pony Theatre Company presents|
|Auctioning the Ainsleys|
|Written by Laura Schellhardt
Directed by Dan Stermer
at The Building Stage, 412 N. Carpenter (map)
through Dec 18 | tickets: $15-$20 | more info
Reviewed by Barry Eitel
Laura Schellhardt’s Auctioning the Ainsleys is painfully, blatantly, and delightfully quirky. Dog & Pony Theatre Company’s treatment of the play feels like it was lifted from the mind of Wes Anderson or Diablo Cody. There’re plenty of sweaters, vintage silverware, and arrested development, and the show – directed by Dan Stermer – is undeniably fun. Unfortunately, the only thing it’s really missing is dramatic heft.
The titular Ainsleys are a gaggle of childish adult siblings who live with their reclusive mother in a massive auction house. Each has some neurosis that makes them perfect for the estate-sales business the family runs. Annalee (Faith Noelle Hurley) is more than a tad OCD; therefore, she oversees accounting. Amelia (Teeny Lamothe) obsesses over matching—both objects and people—which makes her perfect for setting up the auction lots. Aiden (Matthew Sherbach) eschews all material things, so he takes care of all the polishing, cleaning, and refurbishing (or distressing if that’s what people are buying). Their world is turned upside down when their aging mother, Alice (Kate Kisner), decides to auction off the house and everything in it. The enormous sale recalls wayward daughter Avery (Rebekah Ward-Hays), whose caustic domineering ways upset the Ainsleys’ balance even more.
Schelhardt’s play is about people, but it is also very much about things. It riffs on what our objects say about us in a myriad of intriguing, charming ways. According to Avery, a smart auctioneer is not selling tangible items, but the stories behind those things. Alice has a trinket she uses to symbolize each one of her children (a teapot, a stapler, etc.). Her deceased slave-driver of a husband, a character never seen but who drives much of the action nevertheless, represented each one of his brood with a price tag.
Stermer’s production is beautifully designed. Every design aspect clicks wonderfully with every other. Tracy Otwell’s and Annalee Johnson’s playful envisioning of the Ainsley homestead stuffs the vast Building Stage space. Stermer uses it very well, carving out scenes on the various levels. Kevin O’Donnell’s amusing, jazz-inspired soundtrack is also of note, slathering on the vibraphone and woodwinds.
Schelhardt falls prey to a flaw that plagues many young writers and theatre companies in our age of indie films. The play flits along for the first act, introducing the wacky characters and their defining eccentricities. As the Ainsleys’ auctioning continues, though, there is a jarring push to explore dark family secrets (abuse, prejudice, long-lingering hatred). This is done to manufacture some stakes, but the heavy issues feel very artificial considering the first half of the play. Many of the revelations uncovered in the latter half come off as either unbelievable, a bit dumb, or insignificant. Avery harbors a deep-seated hatred for her tyrannical dad, but her reasoning seems tangled.
Stermer collected a talented cast that breathes life into Schelhardt’s whimsical world. Lamothe is mousy and hilarious. Sherbach is another standout, often responding with ridiculous physical responses when Aiden cannot come up with words. Both the script and the cast occasionally fall back on unmotivated character idiosyncrasies. This includes Hurley’s cartoony hand gestures or, once he finds out Alice’s auditor (Austin Talley) is a collector, Aiden’s annoying habit of calling him a synonym of “souvenir” (knickknack, brickenbrak, curio—something that would be funny if done, like, only five times instead of five times every conversation). The best scenes, both in terms of writing and acting, are the ones between Talley and Kisner. They are sweet but weighty, peculiar but relatable, and the most dramatically interesting sections of the production. These few scenes are what the rest of the play wants to be.
Through Auctioning the Ainsleys, Dog & Pony exudes plenty of charming hipster quirk that is certifiably enjoyable. However, Schelhardt obviously wants to make some sincere comment on the cult of materialism. The message is lost in the clutter.
TICKET DEAL: Pay What You Can is available at the door every Thursday and Sunday provided the show is not sold out.