Review: Trap Door’s “12 Ophelias”

Begins brilliantly, but has incomplete finish

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Trap Door Theatre presents:

12 Ophelias: a play with broken songs

by Caridad Svich
directed by Kate Hendrickson
through October 31st (ticket info) 

 

   Ophelia: Do you think my heart is any lesser? 
 Gertrude: What do you mean? 
Ophelia: For being born.
 

 Kate Hendrickson’s direction pulls out all the stops for Trap Door Theatre’s current avant-garde production, 12 Ophelias: a play with broken songs. Characters emerge from and descend into black pools, suggesting just how close oblivion always is. Projection screens made up of white petticoats hung on a line, when opheliataken down reveal an altogether different space. Musicians stationed in various locations suggest angels, as well as prostitutes, waiting their turn. Above all, rich poetic language and original songs create a potent atmosphere that may carry the production long past the point when characters’ psychological motivations fall short of the play’s premise.

After floating for centuries, Ophelia (Mildred Marie Langford) emerges in Appalachia, reborn from the water into a world in which Hamlet is now known as Rude Boy (Kevin Lucero Less); Gertrude (Joslyn Jones) runs a brothel; Rosencrantz and Guildenstern, simply known as R (Jen Ellison) and G (Casey Chapman), are the brothel’s lackeys; and Horatio, now known as H (Noah Durham), spars with Rude Boy in daily camaraderie. It is a world in which Ophelia and Rude Boy/Hamlet seem to have a second chance at love. But there are times when Caridad Svich’s reworking seems so far from the original, the two only connect superficially.

For one thing, Langford and Jones exude natural power in their acting. For another, their Ophelia and Gertrude, respectively, are not the weak, timid, easily manipulated women of Shakespeare’s work. As much as one appreciates the tremendous beauty in their strength, what should their characters’ former lives be to them or to us, if all resemblance breaks with the past? Svich’s Ophelia remembers her former life. “I left everyone unblessed,” she recalls of her suicide. Yet her ability to relish her robust sexual appetites and her outright pursuit of Rude Boy/Hamlet bear no relation to Shakespeare.

The only characters with any clear correspondence to their pasts are R and G, with memory so retained in their present consciousness, they recite Ophelia and Hamlet’s lines in parody before the newly reborn Ophelia. The commentary and interplay between R and G is probably the strongest feature of Svich’s work. Their foolery during the song “Lonesome Child,” which takes place opposite of Ophelia and Rude Boy/Hamlet’s lovemaking, is delightfully inspired.

ophelia-4 ophelia-2 ophelia-5

Sadly, Rude Boy may be the most underdeveloped character of the play. The most layered, erudite, and mercurial protagonist in Shakespeare’s pantheon is reworked with utter and brutal reductionism here. Gone is the princely state and Renaissance learning—Svich’s Rude Boy/Hamlet is little more than a womanizing thug. His final battle with H is an indulgent act of self-immolation; his eventual rejection by Ophelia reduces him to a pathetic, slobbering mass. About their former romance, Ophelia dismisses him with, “You were just a rude boy.” It’s a line that utterly breaks with Shakespeare’s realized creation. This abridged Rude Boy/Hamlet stacks the deck and buys this Ophelia’s empowerment on the cheap.

Amidst lush poetry, it’s this dramatic shallowness that belies Svich’s shortcomings. At least in this work, Svich shows greater psychological depth in conveying the state of loss and brokenness, rather than any true hope of recovery from it. Even R and G’s repeated commentary, “The crushed come back—there is no mending here,” loses all dramatic tension to become disproved. Some may revel in that kind of pre-scripted fatalism, but others may wonder what spending 90 minutes with this work was all about, if there was never any hope for healing and love. In spite of the cast’s talents and imaginative direction, the audience may walk away feeling cheated.

Rating: ««½

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Theater Thursday: “Fedra: Queen of Haiti” at Lookingglass Theatre

Thursday, October 1

fedrapicFedra: Queen of Haiti 

by J. Nicole Brooks
Lookingglass Theatre Company
821 N. Michigan Ave., Chicago

Join Lookingglass for an exclusive reception featuring a presentation by their artistic staff and delicious appetizers from Mity Nice Grill. Don’t miss the world premiere production of this explosive new script from Ensemble Member J. Nicole Brooks (Black Diamond).
Event begins at 6:30 p.m.
Show begins at 7:30 p.m.

TICKETS ONLY: $30
For reservations call 312.337.0665 and mention "Theater Thursdays."

show openings/closings this week

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1001 The Theatre School at DePaul University

American Psyche or a Breath of Fresh Care Gorilla Tango Theatre

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The Castle of Otranto First Folio Theatre

Dirty Talking Amish Gorilla Tango Theatre

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Endira Aguijon Theater

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Kill the Old, Torture Their Young Steep Theatre

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The Mercy Seat Profiles Theatre

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Sleepy Hollow Theatre-Hikes

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Merce Cunningham Dance Company – Dance Center of Columbia College

Miami City Ballet Auditorium Theatre of Roosevelt University

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A Shroud for Lazarus Halcyon Theatre

Texas Sheen Chemically Imbalanced Comedy