Tag: Pavement Group
Another year, another 12 months of great theater! 2013 blessed the Windy City with inspired new works and riveting revivals from a wide range of companies – the largest equity houses to the smallest of Chicago’s storefronts. Taking into account the 600+ productions that we reviewed in 2013, here are our picks for the best of the best. Bravo!! (note: for the 3rd year in a row, we’re honored to have the national website Huffington Post use our choices for their Top 10 Chicago productions!)
Gender bending, ribbon dancing and talking chickens
Reviewed by Keith Ecker
MilkMilkLemonade, Pavement Group‘s newest theatrical undertaking, has all the conventions of a children’s play. You have the highly animated narrator, talking animals, a chintzy cardboard set, a slide whistle and heaping handfuls of scenery chewing. But the adult comedy is far from kid’s stuff. The play also features exposed mock penises, an Andrew Dice Clay impression and a little boy ribbon dancing to Nina Simone. It’s in the clashing of these two genres, the traditional children’s play and the bawdy adult comedy, where the piece mines much of its humor.
And there certainly is a lot of humor. MilkMilkLemonade is a riot, thanks in no small part to the extraordinarily talented and committed cast. And although the play lacks an emotional depth that would raise it to a four-star level, it’s not really about thought provocation. The goal here is campy comedy on par with the likes of Charles Busch or a British panto. And in this respect, it succeeds.
The cheekily named play is about a young farm boy named Emory (Matt Farabee) who, despite his conservative surroundings, harbors fabulous dreams of singing, dancing and stardom. He is not at all modest or shy when flamboyantly proclaiming his desires to be rich and famous or when practicing his Bob Fosse-inspired routines.
Unfortunately, being effeminate in rural America isn’t easy. Emory is the focus of ridicule among his peers, including neighbor Elliot (Jessica London-Shields). Elliot is a rough-and-tough ragamuffin who unknowingly serves as host to an evil parasitic twin. Despite Elliot’s public harassment of Emory, he hides a secret affection.
Emory is looked after by his Nanna (John Zinn), a salt-of-the-earth chicken farmer who is dying of cancer. Although her maternal love for Emory is unquestionable, she worries about his sensitivity and softness.
Meanwhile, Emory has a lone confidant—a giant talking chicken named Linda (Cyd Blakewell). Like Emory, Linda too has dreams that reach beyond the farm. She wants to be a comic. Will she live to see her big break, or will she be the feature attraction on a dinner plate?
The play’s humor shines through because of the brilliance of its performers. Farabee does an excellent job countering Emory’s boyhood innocence with his lustful sultriness. Blakewell embodies the Liza Minnelli, messy best friend archetype, while Zinn brings down the house with just the mere pronunciation of the word "chickens" (he pronounces it as "chickowns"). London-Shields evokes the most emotional depth by infusing real compassion into her portrayal of a sexually confused adolescent. And Sarah Rose Graber—who fills a number of roles including the narrator and who previously showed off her acting chops in Chemically Imbalanced Comedy’s The Book of Liz (our review)—continues to display an energy and innate sense of comedy that makes her one of the finest comedic actresses in Chicago.
Director Cassy Sanders certainly had her work cut out for her. The script is manic. Monologues interrupt scenes, the narrator breaks the fourth wall and wacky scenarios are paired with serious subject matter. Sanders reins everything in to create a cohesive piece that has a definite arch and a quick pace. However, I would like to see a little more fluctuation in the tone. Sanders passes up a few opportunities for emotional vulnerability that could create added depth to the production.
I also wish the playwright’s biography was listed in the program. Young New York-based playwright Joshua Conkel penned the play, which garnered several accolades, including an award for Best Off-Off Broadway Show in 2009 by New York Press. MilkMilkLemonade evidences Conkel’s strong voice, whimsy and unique sense of humor.
If you’re in the mood for a queer campy comedy, you can’t go wrong with MilkMilkLemonade. Although it’s in the style of a children’s play, the production’s adult humor is not for kids. Yet, its message of self-love is suitable for all ages.
All photos by Joel Moorman.
The curious case of Jennifer and June
|Dog & Pony Theatre presents:|
|The Twins Would Like to Say|
|Written and directed by Devon de Mayo and Seth Bockley
Steppenwolf Garage Theatre, 1650 N. Halsted (map)
through April 25th (more info)
reviewed by Catey Sullivan
Note: This review was originally published on March 1 on Chicago Examiner.com
Just like the titular twins, you can’t escape mirror images in The Twins Would Like to Say. With Dog & Pony’s innovative examination of the curious case of June and Jennifer Gibbons, ever-shifting halls of mirrors offer both literal reflections of the twins’ lives and a metaphor for them.
Written and directed by Devon de Mayo and Seth Bockley, the staging for the Steppenwolf Theatre’s Garage Rep series was inspired by the Gibbons twins, born in 1963. As children, the pair made a pact to do everything in absolute unison, and to speak with no one but each other. Extraordinarily, they succeeded for 20 years, all but entirely silent outside the confines of their bedroom, despite the frustrated efforts of their parents and a cadre of psychiatrists who remained utterly stumped. When separated, the twins became catatonic.
Their lives are whitewashed a bit here – June and Jennifer’s lengthy criminal records, tragic incarceration and Jennifer’s early death are glossed over in a dreamscape of stylized movement. Yet from the lookalike parrot puppets that open the show to the two simultaneously played sorrowful scenes that end it, The Twins Would Like to Say is cryptic, playful and innovative.
Bockley’s deft at intermingling sadness, beauty and sound (if you saw Boneyard Prayer, you don’t need us to tell you that). de Mayo’s ability to configure a story into non-linear, non-traditional formats received a well-deserved and high-powered spotlight with Dog and Pony’s The Vivian Girls, which she devised and directed. Together, the pair constitutes a dream team of unexpected storytelling.
The Twins Would LIke to Say is theater as a tumble down the rabbit hole and into an ever-shifting funhouse maze where reality is warped and the line separating fantasy from reality is fluid. By using a promenade staging, Bockley and de Mayo ensure the audience is an active part of the story – Rather than sit back and watch as they might with traditional stagings, ticket holders have to participate, moving from room to room as the scenes progress.
The audience’s entrée through the lookingglass is Mr. Nobody (Nick Leininger, a winning mix of the sinister and the sympathetic ), who ushers the audience behind a curtain with the flourish of a side-show huckster keen to have the audience to learn about some strange unknown world rather than just gawk at it.
The first visual we get of June (Paige Collins) and Jennifer (Ashleigh LaThrop) is both spooky and enthralling. Standing stock still at the dead end of a long hall, the girls stare out with dead eyes, an adolescent vision of those twins from the Overlook Hotel in “The Shining.”
The promenade structure isn’t without drawbacks. Among them: You’d have to see the piece at least twice to take in it all in. See it only once, and you’re forced to choose between scenes. Eavesdrop on the twins’ psychologist (Kasey Foster) trying to make sense of their behavior, and you become keenly aware that you’re missing what’s going on elsewhere, as dialogue floats in from some unseen periphery. No matter how deft the performances or compelling the action, you’re often left wondering if you’ve made the right choice – and if something more interesting is going on just around the corner.
That shortcoming is especially evident in the final scene, when the audience is split in half and divided by an opaque black curtain. Too say that missing half of the piece’s conclusion is immensely frustrating is an understatement.
That aside, the performances in The Twins Would Like to Say are marvelous, cryptic, playful depictions of people living in a world that’s half stylized fantasy and half brutal reality.
Collins and Ashleigh are wonderful, giggling and whispering in their room like teenage girls the world over up; silent, sullen and above all fearful whenever they’re forced to contend with the outside world. As their taunting, eerie classmates Kathryn Hribar and Teeny Lamothe are cruel and typical teens, shrill voices and nasal giggles evoking a thousand mean girls nightmares. (In real life, Jennifer and June were bullied so badly, their school allowed them to leave 5 minutes early, so as to get a head start on the kids who wanted to beat them up.)
As the twins mother Gloria, Millie Langford is the kind, patient, enabling opposite of the twins father Aubrey (Brandon Boler), whose tough love cruelty results in a cacophony of torment when the twins are forcibly separated.
To depict the intricate fantasies that June and Jennifer spun by filling journals full of elaborate fictions, de Mayo and Bockley stage plays-within-the-play, bringing the pulp fiction storylines and outrageous sexuality of such dubious works as “The Pepsi Cola Addict” and “Discomania” (Dan Stermer’s disco choreographer is absolutely delicious). Andrea Everman’s shadow puppets also make the twins’ stories pop with vibrance. All seen in silhouette, a snarling dog, a dying boy and a bereaved father takes on emotional resonance rich in childlike poignance.
The Gibbons lives are by no means completely rendered here, but that hardly matters. What we do get in the 60-minute production is a chance to enter an alternate universe of intricate storytelling.
The Twins Would Like to Say runs through April 25 in the Steppenwolf Garage, 1624 N. Halsted. Tickets are $20, $12 students and pay-what-you-can Wednesdays. A three-play pass to the Garage Rep series also including XIII Pocket’s Adore (our review ★★½) and Pavement Group’s punkplay (our review ★★★) is $45. For a performance schedule and ticket information, click here or go to http://www.steppenwolf.org.
Even high school sub-cultures demand conformity.
Pavement Group presents:
by Barry Eitel
You can tell Gregory Moss’ play punkplay is pretty rebellious from the fact that the title refuses to be capitalized. Pavement Group tears up Moss’ play as their entry to Steppenwolf’s new Garage Rep rotation that showcases several exciting young Chicago companies. This 75-minute crude, rude, yet ultimately fascinating drama tells the tale of two teenage boys (a gangly Alexander Lane and Matt Farabee , who doesn’t look a day over 14) growing up in Reagan’s America and diving head first into the world of punk rock. Over the ensuing year or so from hearing their first punk record, we get to watch the duo start a band, idolize girls along with more extreme (read: homeless) punks, and masturbate (a few times). Moss’ script has its holes, but director David Perez and his energetic cast railroad right over them. If you can stomach the scuzziness, this is one great coming-of-age story.
I was wondering which choices were Perez’s decisions or written in the play. Either way, the semi-presentational/realistic/fantastical world located in the Steppenwolf Garage space grabs you and doesn’t let go. Scenic designer Grant Sabin, who actually designed all three shows, has created something like a robo-tripping Glass Menagerie. The set is simple but allows for all sorts of manipulation, projection, and imagination. Nearly all of the products, including beer, comics, and erotic videos, are painted white and slapped with a simple eponymous label, a homage to punk classic Repo Man (which starred a young Emilio Estevez).
Also, all the actors wear roller skates (sort of a Sex Pistol’s Starlight Express)
Lane and Farabee have a great energy together. Somewhat zombified, Duck (Lane) sees himself as the ultimate judge of what is punk. Mickey (Farabee) is bright-eyed and impressionable, yet comes across as much more diverse than his close-minded counterpart. The cast is rounded out by Keith Neagle and Tanya McBride, who play multiple parts with gusto. One of the most bizarre dream/hallucination sequences I’ve ever seen features McBride in a bikini top and a Reagan mask. It’s an image that won’t leave me for a long time.
Moss’ play covers a lot of territory; his characters trek the already epic journey of high school with the added objective of tearing down the bourgeois, Molly Ringwald culture that surrounds them. It’s a monumental task. Moss does a pretty good job of navigating this tumultuous world, but the script could be condensed. Mickey and Duck take in a pair of transients from Montreal at one point, which didn’t make a whole lot of sense. Also, Duck’s family situation is explained in the first scene when he moves in with Mickey (he was kicked out of his house), but not much information is given about Mickey’s familial life. You begin to wonder what his parents think about him harboring Duck in his room, which transforms from a stark suburban white to a vomit of graffiti. That missing relationship doesn’t take away much because the production wallows in abstraction, but it would be nice to know something about it (which might be a whole play in itself: groundedplay). Some of the longer speeches wax poetical, and audience interest drops. Some information is extraneous and some is muddled, which suggests Perez and Moss could make the show tighter.
Perez’s production shows how tough and confusing it can be to grow up, like “Breakfast Club” with more spike chokers. Duck and Mickey must face the fact that the punk scene might just be another high school subculture demanding conformity. Luckily, the Black Flag records give way to Sonic Youth, not Sum 41, and we all learn something about ourselves.
500 Clown and the Elephant Deal – 500 Clown
Boleros for the Disenchanted – Goodman Theatre
A Celebration of Hope and Peace – Chiesa Nuova
A Celebration of Johnny Mercer – Northwestern University Theater
Dead Wrong – The Factory Theater
Earth: TTFN?! – WWS Productions
The Hollow Lands – Steep Theatre
In Your Facebook – Prop Thtr
Once Upon a Time (or the Secret Language of Birds) – Redmoon Theater
Over the Rainbow – Chicago Gay Men’s Chorus
Snubfest 2009 – Chemically Imbalanced Comedy
Summer Music Series – Drury Lane Theatre Watertower
Two Torn Apart – Gorilla Tango Theatre
Up – Steppenwolf Theatre
Show closings after the fold.