REVIEW: Pretty Penny (Right Brain Project)

Sexual appetite meets physical bodies – or vice-versa

Pretty Penny_1

Right Brain Project presents:

Pretty Penny

by Randall Colburn

directed by Nathan Robbel

through March 20th (more info)

reviewed by Ian Epstein 

Having cabin fever? Then check out the brooding, close quarter’s production of Randall Colburn‘s Pretty Penny over at Right Brain Project instead – it’s an inappropriately intimate storefront variation on an increasingly common theme: the uncomfortable mixture of sexual appetite, physical bodies, and the tech-induced separation of the one from the other.

Pretty Penny_3Victoria (Katy Albert) is a mischief-prone, present-day Women’s Studies student. She decides to pick up twenty hours a week at a no-restrictions-whatsoever phone sex line operation. Jerry (Josh Sumner) owns and operates this wiry brothel.  He’s a would-be photographer but instead of making pictures he wound up taking them from other people, then mixing and matching them to someone else’s voice-for-hire. People on one end of the line pay for what’s repeatedly described as a fiction – a total fantasy. Meanwhile, Jerry’s employees, and Victoria in particular, fall dangerously into the allure of the fantastical, no-restrictions alter-egos.

Enter Crystal (Susan Myburgh), strutting. Crystal is a no nonsense model with the drive and perseverance it takes to succeed in the business of flesh and posing – so naturally there are some skeletons in her closet.  Namely, some lurid, pre-nose-job skeletons, erotic photos taken by Adam some ten years earlier. She’s also got a push-over boyfriend named Tommy (Nick Mikula) who lacks the courage or emotional flexibility to go down on one knee and make Crystal his fiancée.

Jerry, on the other hand, is a pretty keen, emotionless business operator.  And he wants to put those Crystal photos on the hot-line’s site. Crystal resists, then concedes and consents to become the face of Victoria’s fictional persona. Victoria has already seen the picture that is “her.”  She’s busy trying out voices and personalities like new clothes, settling eventually on a squealy, whimsical lilt she names “Penny.”

Early on, Colburn sets the forces in motion that will eventually bring Crystal and Victoria face to face.  He also sets this meeting up as one of those forbidden encounters, likely to cause a cataclysmic disturbance.

Pretty Penny_2 It’s a difficult, almost cruel journey for an audience set in the round and just feet from the actors.  Nathan Robbel‘s otherwise strong directing might’ve benefited from an arrangement that didn’t force audience members to deal with the script’s themes of flesh and disconnect in such hyper-focused, claustrophobic quarters.  Luckily, the actor’s are, on the whole, captivating, making it natural to watch them and their subtlest gestures.

Set and props are minimal to not at all – there’s a good bit of miming, which emphasized the play’s thematic focus on our awareness of bodies in digital and physical space.  Colburn’s script is strong, dipping equally into material that is comedic then, all of a sudden, disturbing.  But the real gem of this production is Katy Albert, whose playful ease makes her electric in the collapsing double role of Victoria/Penny.

There’s a lot of writhing around in dim light talking dirty on the phone to a sordid cast of characters in Pretty Penny, but the complexity and maturity of Colburn’s writing in the talented hands of Katy Albert make the show thoughtful and rewarding for those willing to stray into its otherwise dark territory.

Rating:  ★★½

3 Responses

  1. FYI, Victoria’s boss who runs the phone sex operation is named Jerry, and is played by Josh Sumner.

  2. It’s great for small companies and new playwrights to be getting press attention, but this a terribly written review. Just a quick second pass would eliminate such errors as the repetition of an entire paragraph (oddly enough, the only difference being that the second iteration gave the incorrect name for one of the characters). I might not agree with Ian’s opinions and observations, which is fine and good and the way it should be, but he should show respect for people’s work by paying more attention to his published evaluations.

    • thanks, JLR, for the heads up on the repetitive paragraphs. I just made the fix. Let me know if I still missed something.

      As for this error – it can be totally put on my lap and not on the writer’s- as editor I meant to do some cutting and pasting, but forget the cutting part. Thus 2 separate paragraphs saying the same thing (save for the name difference). For this mistake, I apologize.

      Having put responsibility where it belongs, with the editor (i.e., me), I must say that I in no way meant to exhibit a lack of respect for people’s work, especially considering the hours put in on this site to support theatre in Chicago. What you pointed out is more an editorial mistake made while editing and posting 10+ reviews and interviews a week.

      Either way, my writers and I realize that we will write reviews that some won’t agree with, and we welcome input from our readers and from people involved in the production in question. In the end this is one of the amazing thing about theatre – everyone interprets productions differently, drawing out those things that speak most to them.

      Thanks again,

      Scotty Z.

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