Tag: Mechelle Moe
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.
Huge, hugely talented cast gives their all to ‘Stage Door’
|Griffin Theatre Company presents|
|By Edna Ferber and George S. Kaufman
Directed by Robin Witt
Theatre Building Chicago, 1225 W. Belmont Ave. (map)
though May 23 | tickets: $18-$28 | more info
Reviewed by Leah A. Zeldes
One of the most overlooked and underrated writers of the 20th century, Edna Ferber brilliantly showcased the lives of working women in her keenly stories. In the 1936 Stage Door, Ferber and George S. Kaufman crafted an impressive and charming drama about one such downtrodden group.
Set in the Footlights Club, a New York boardinghouse for theatrical women, the story follows the lives of the young contenders of Broadway. Hoping for their big break, they subsist on hope and pennies … and often succumb to temptations away from the stage. For the luckiest, Hollywood lures; for others, love, or security, or pure hopelessness.
No one would write a play like this today, and Griffin deserves tremendous props for producing it all. It’s not that its themes haven’t been covered in subsequent plays — 1991’s I Hate Hamlet, for instance, takes on similar Broadway vs. Hollywood issues — but that the cast is huge. There are 32 distinct characters, played in this production by a cast of 27. Quite literally, they don’t make ’em like this anymore!
What’s more, when I say "distinct characters," I mean just that. Each is skillfully introduced, significant and a unique personality that adds to the heart and spunk of this rich play. Director Robin Witt brings out those traits to the fullest.
Mechelle Moe stars as the central character: plucky, generous Terry Randall, who’s been trying to make a go of it on Broadway for three years. Despite her lack of success, she remains stagestruck. "We live and breathe theater and that’s what I’m crazy about," she says.
Her friends tell her she’s talented, but she hasn’t managed more than a few weeks of work in all her time in New York. The play suggests that’s because she’s not beautiful and doesn’t appear well offstage. It’s perhaps a slight flaw in the script that we never see Terry acting, and can’t judge for ourselves. Moe’s own performance occasionally seems too gung-ho, like the young Judy Garland enthusing about putting on a play in the barn, but she makes the audience care about Terry.
We do get to judge the talents of Olga Brandt, a classically trained pianist who earns a living playing for dance rehearsals. "For that I studied fifteen years with Kolijinsky!" she says in disgust, and solaces herself by playing Chopin on the boardinghouse piano. Janeane Bowlware is both a skilled musician and delightfully funny in this difficult role. (In a nice theatrical in-joke, during most of the play, the piano’s music stand displays sheet music from Show Boat, the Jerome Kern–Oscar Hammerstein musical based on Ferber’s 1926 novel.)
We also see some fine comic turns from Sara McCarthy as Bernice Niemeyer, the house busybody; Erin Meyers as the man-hating Ann Braddock; Ashley Neal and Christina Gorman as Big Mary and Little Mary, a Mutt and Jeff duo; and Kate McGroarty as Pat Devine, a leggy dancer earning her living in nightclub shows.
Other notable performances include Stacie Barra, archly dry as Terry’s cynical friend Judith Canfield, and Jeremy Fisher, strong as Keith Burgess, the earnest young playwright on whom Terry pins her hopes. Lucy Carapetyan is ardent as Jean Maitland, who urges Terry to go with her to Hollywood.
Maggie Cain gives us a matter-of-fact Mattie, the boardinghouse’s maid of all work, and Chuck Filipov a subtle performance as Frank, a teenage household helper, while Mary Anne Bowman alternately fawns and frowns as Mrs. Orcutt, a one-time actress turned boardinghouse manager.
Marika Engelhardt plays Madeleine Vauclain, an actress from Seattle, trying to find a double date for visiting hometown conventioneers — Jeff Duhigg and Paul Popp, as a pair of buffoonish Pacific Northwest lumbermen. Rakisha Pollard is brave as Louise Mitchell, an unsuccessful actress sadly leaving Broadway to marry the boy back home in Wisconsin.
It feels like hair-splitting to point out the few flaws. James Farruggio seems a little stiff as David Kingsley, the moviemakers’ agent who urges Terry to stick to the stage, and Caroline Neff is a bit too detached as Kaye Hamilton, Terry’s desperate and destitute roommate.
D’wayne Taylor doubles as a Hollywood producer and as Terry’s father, a small-town Indiana doctor. He acts well in both parts, but he stands out oddly as the one African American in the company, making me wonder what led Witt to cast him. Color-blind casting works well when it’s done with consistency, but if you’re going to suspend historical accuracy for the sake of diversity, you need more than a token. When all the rest of such a large cast is white, it jars suspension of disbelief to have the sole black person in the show play the father of a white woman.
Filling out the cast, Jennifer Betancourt plays Bobby Melrose, a Southern belle; Morgan Maher is her boyfriend, Sam Hastings, an actor from Texas. Joey deBettencourt portrays Jimmy Devereaux, a confident would-be actor who hasn’t ever auditioned for a professional part; Skyler Schrempp, Susan Paige, perpetual understudy; and Erin O’Shea Kendall Adams, daughter of a family of Boston Brahmins.
Witt stages the show in three acts, with two intermissions — a 1930s convention that always makes feel as if I’ve really been to the theater — and blocks it beautifully, particularly in a wonderful Act III scene that puts nearly all the cast onstage. Marianna Csaszar‘s convincing set, built around a central staircase, helps to give the wide-ranging scenes focus.
Stage Door was the basis of the 1937 film of the same name, but the movie’s plot bears little similarity to this delicious play (which seems rather a meta-joke in itself). Don’t miss this rarely performed gem.
RAVEN THEATRE TAKES ACTION AGAINST SCHOOL VIOLENCE
A Bird of Prey
Written by Jim Grimsley
Directed by Mechelle Moe and Sullivan High School teacher Stefanie Rivera
Presented in coordination with students from Sullivan High School
Wednesday, December 16 at 6:00 p.m.
No charge for admission (more info)
In a groundbreaking community event, Raven Theatre and students from Sullivan High School join forces to take a stand against school violence with the one night show, A Bird of Prey. Over twenty students are participating in this production in a brave step toward neutralizing the violent forces lurking in their own school in Chicago’s Rogers Park neighborhood.
A Bird of Prey is an educational theatre piece that discusses the lives of today’s youth and the harsh realities they face every day. From difficult situations at home to blatant cruelty from their peers, this play brings to light the extreme danger and inevitable isolation felt by teenagers.
In a tumultuous and frightening year for Chicago Public School students, this Raven Theatre outreach event gives a voice to students whose everyday lives are effected by school violence. Sullivan students present scenes from the play A Bird of Prey, as well as pieces they’ve written on topics of exclusion, violence and community.
The primary goal of this outreach is to shift the source of dialogue from parents and local politicians to the teenagers who are directly effected by violent events – discussing their fears in a safe environment and empowering them to be proponents for change in their own neighborhoods. The evening’s events are sure to resonate throughout the community, not only bringing awareness to this horrifying situation but elevating these students past the label of "victim", giving them the support they need to play a part in a positive, proactive solution.