Tag: Nicole Keating
Six Dead Queens
and an Inflatable Henry!
Raucous humor amidst the Dark Forest
|Piccolo Theatre presents|
|Robin Hood: The Panto!|
|Written by Jessica Puller
Music by Tyler Beattie
Directed by Glenn Proud & Brianna Sloane
at Evanston Arts Depot, 600 Main (map)
through Dec 18 | tickets: $25 | more info
Reviewed by Paige Listerud
You’ve got to hand it to Piccolo Theatre for perennially bringing a bit of wacky English theater tradition to Evanston environs each holiday season. British Pantos are pure, unadulterated silliness. At Robin Hood: The Panto!, expect all the traditional British ribaldry—cheering the hero, booing the villain, and shouting, “He’s behind you!” when our hero is under sneak attack. The real fun of the show is witnessing full-on participation from a typically polite and respectful theater crowd.
Co-directed by Glenn Proud and Brianna Sloane, Robin Hood: The Panto! is the newly-minted creation of young playwright Jessica Puller, who authored their successful last year’s panto, Perseus and Medusa: or It’s All Greek To Me (our review ★★★). You’d better not expect something like the Ridley Scott or Kevin Reynolds’ versions of the Robin Hood legend—Puller takes a nice big swipe at those.
No, in this version, Robin Hood (Berner Taylor) looks hot in fishnets but has a head the size of a watermelon from all the hero worship he gets from fans and the media. An eager overreacher, Scarlet (Nicole Keating) just wants to be part of Robin’s Merry Men but Robin, Little John (Adam McLeavey) and Alan A Dale (Maxx Miller) never cut her the slack to let her join. Of course, it’s tough when one is constantly outshone and out-thieved by Philip, the Cow (Vanessa Hughes and Amy Gorelow). Rescuing the lovely Maid Marian (Kaitlin Chin) from the deliciously sinister and effete Sir Guy of Gisbourne (Ben Muller) is a weekly event, but this time a trek to The Dark Forest leads Scarlet to discover a magic spell book by which she can rewrite events as she wills.
Piccolo’s production shamelessly rips off “I Love Lucy” and every other old vaudeville bit and joke. When I say old, friends, I mean that, no doubt, many of these jokes and shticks were unearthed from the catacombs. But the cast excels at driving a sassy pace and playing every moment with gusto. What is even more important is the spot-on improvisation and interaction with the audience that they deliver. On opening night, an audience member trying to sneak back into her seat after intermission was greeted with a scathing “Nice of you to join us!” from Sir Guy. But our plucky audience gave as well as they got. Once the Sheriff of Nottingham (Vic May) got turned into a duck from Scarlet’s magic spell book, someone from the audience yelled out “AFLAC!”
Other memorable moments include Noah Ginex’s magic scene and puppetry design, as well as Vanessa Hughes and Amy Gorelow playing the evil spirits of the Dark Forest, busting out a power ballad just like the 1980’s duo, Heart. But the show really is about the pact between audience and players to have a ridiculous, raucous good time. To that end, bring your friends and family. And watch out for the whipped cream.
A royal cat fight
|Piccolo Theatre presents|
|Six Dead Queens and an Inflatable Henry|
|Created by Foursight Theatre, UK
Devised by the Women of Piccolo Theatre
at the Evanston Arts Depot, 600 Main St. (map)
through June 5th | tickets: $15-$20 | more info
reviewed by Keith Ecker
Though its been more than 500 years since his rule, England’s King Henry VIII still ranks in the minds of many as one of the most boorish and misogynistic men to ever hold the title of head of state. That’s saying something considering we live in a world that brought us the likes of Attila the Hun, Ivan the Terrible and Adolph Hitler. Yet unlike these other wretched men, there’s always been a bit of a whimsical fascination with Bluff Harry from Herman’s Hermits’ “I’m Henry the VIII, I Am” to Piccolo Theatre’s production of Six Dead Queens and an Inflatable Henry.
Originally created by the women of Foursight Theatre in the UK, Six Dead Queens is one part cabaret, one part biography and a whole lot of comedy. It stars the six unfortunate wives of King Henry VIII all forced to spend eternity at a sleepover. Like school-age girls at an overnight, they talk about boys—or rather one particular boy—while poking each other with catty jabs—sometimes in the form of words and sometimes in the form of swords.
The opening scene sets the tone perfectly. As all the women lie concealed under the covers, the silence of the moment is broken by a well-paced series of flatulent outbursts. This dashes any worries that we’re about to be bored by a heady academic romp through history.
Next, each queen is introduced through song. There’s the spicy Spaniard Katherine of Aragon (Amy Gorelow), the beheaded Anne Boleyn (Dani Bryant), little-miss-perfect Jane Seymour (Brianna Sloane), dumb and ugly Anna of Cleves (Leeann Zahrt), the promiscuous Kathryn Howard (Nicole Keating) and the motherly Catherine Parr (Denita Linnertz). The actresses’ multi-part harmony is impressive as is their adeptness with instruments. This talent enhances the humor. What could be funnier than watching the very serious Katherine of Aragon bang out a bass line on an upright?
Characters squabble with one another in catfight fashion. Katherine of Aragon and her successor Anne Boleyn, whom the King tried to court behind Katherine’s back, row as do Boleyn and her successor Jane Seymour, whom bore the King his only son, Prince Edward.
There’s also ample ganging up. Anna of Cleves gets it the worst, bearing the reputation of being ugly and foul smelling. Her marriage with the King lasted a brief six months, which in the judgmental eyes of the other ladies, makes her inferior.
The play lacks any sort of cohesive plot. Instead, it plays as a series of monologues, musical numbers and sketches. It’s effective for about an hour. But by the end, Six Dead Queens runs out of any new ground to cover.
The actresses all deliver outstanding performances. Through vocal inflection, mannerisms and personality ticks, the women bring to life six unique individuals with completely separate personalities. In addition, the roles call for a sweeping spectrum of dispositions from slaphappy to somber. The performers are able to make the switch effortlessly.
Six Dead Queens is an entertaining intersection of academia and vaudeville. At times uproariously funny, at times remarkably sad, the piece successfully explores how competitiveness can make women their own worst enemies, how comfort can make them their own saviors and how men can be pigs.