Tag: Paloma Nozicka
Like life, ‘Sonnets’ is a bumpy ride
|UrbanTheater Company presents|
|Sonnets for an Old Century|
|Written by José Rivera
Directed by Madrid St. Angelo i/a/w Juan Castaneda
at Steppenwolf Garage Theatre, 1624 N. Halsted (map)
thru April 24 | tickets: $20 | more info
Reviewed by Keith Ecker
Chicago has a vast and virtually unknown storytelling scene. Shows like The Moth, 2nd Story, Story Club, Stories at the Store, This Much Is True and Essay Fiesta feature the best writers and storytellers in the city. As a member of this scene (and Essay Fiesta producer), I see at least a dozen personal monologues performed each month. You would think that after hearing more than 100 narratives, I’d become jaded. However, I’d argue that the opposite is true. My appreciation for genuine and honest storytelling continues to grow and appears to be without bounds. Conversely, my bullshit detector has become highly attuned.
I mention all this because Sonnets for an Old Century, the new UrbanTheater Company production that’s part of the Steppenwolf Garage Rep, is a storytelling showcase. The play, written by José Rivera, consists of a series of monologues told by the recently deceased. The stage is their purgatory, and it is here that each provides commentary on the life he or she has lived, both the good and the bad. So in essence, these monologues—or free-verse sonnets—are personal narratives, even if the narratives are fictional.
Overall, Sonnets is an incredibly inconsistent show. There are moments where the monologists hit their high notes, striking genuine emotion. In these rare scenes, you can sense the actor is digging deep, plucking an honest chord from within and relaying that to the audience from behind the mask of the character. It is also in these scenes where the dialogue rises above contrivance and overwroughtness to become something real and relatable.
Unfortunately, there are far too many monologues in which the diction is absurd, even spiraling into laughable territory. Lines like "ecology of the spirit" and "rhythm of vegetables" could work if they weren’t delivered with such grave seriousness. Nobody talks like this, not even poets—or at least good poets. The actors struggle when assuming these pretentious characters, often falling into the trap of indicating rather than acting. But can you blame them? Nobody can relate to a clunker of a line like the "fallopian tubes of her mind." How can the actors find a place of genuine feeling when lines like this are the antithesis of genuine feeling?
But let’s get back to the highlights. There’s a beautiful monologue delivered by actor Hank Hilbert. He plays an actor who, in life, kept his homosexuality and his AIDS diagnosis hidden from most of the world. The language of the piece is pedestrian, though it still retains its power. There is humor as well as poignancy. There is action as well as characterization. It has all the makings of a great narrative.
Another highlight is provided courtesy of Christian Kain Blackburn. His character talks about sin, and attempts to justify his earthly behavior, which in life included drug and alcohol abuse. He then gives a riveting speech about his invalid father and the pain of watching the man grow old, weak and helpless. Blackburn pulls from the gut and succeeds in delivering one of the most compelling sonnets of the production.
Despite these shining moments, and a few others, the play’s inconsistency detracts from its overall quality. Each character need not deliver his or her monologue in a similar voice – that would be a sign of a non-dynamic writer. But the style should remain consistent. You can’t go from real-world dialogue to slam poetry and expect us to think these characters exist in the same universe. Perhaps if director Madrid St. Angelo addressed these style shifts, there would be more cohesion and a better end product.
The reason why the aforementioned storytelling series are successful is because they strive to tap into a place of vulnerability without the protection of pretense. Sonnets for an Old Century will probably turn off quite a few audience members because of just how much it clings to its loftiness. If the actors and director could find a way to make each piece vulnerable, despite the laughable dialogue, this would be a much more powerful play.
GarageRep continues through April 24th, with performances Wednesdays through Sundays at 8 pm; Saturdays and Sundays at 4 pm; with a three-show marathon on Sunday, April 24 at 1 pm, 4pm & 8 pm. For more info, go to Steppenwolf Theatre’s 2011 GarageRep page.
Featuring: Jennifer Walls, Alex Polcyn, Christian Kain Blackburn, Gino Marconi, Gabi Mayorga, Shannon Matesky, Hank Hilbert, Rashaad Hall, Marilyn Camacho, Paloma Nozicka, Dru Smith, Marvin Quijada, Meghann Tabor, Phillip E. Jones, Arthur Luis Soria, Sojourner Zenobia Wright, Mike Cherry, Whitney Hayes and Amrita Dhaliwal.
What is GarageRep??