REVIEW: The House of Yes (Artistic Home)

A resounding, yet disturbing, “Yes”

 

House of Yes Publicity Photo #1

 
The Artistic Home presents
 
The House of Yes
 
by Wendy Macleod
directed by
Kaiser Ahmed
at
The Artistic Home, 3914 N. Clark (map)
thru May 2nd  |  tickets: $10-$15  |  more info

reviewed by K.D. Hopkins

This is a story of what the age of Camelot hath wrought and what happens when no one tells you no. The Artistic Home’s production of The House of Yes is a dark love story that takes place almost two decades after the assassination of JFK. It is also a master portrait of comic absurdity in the privileged class of America.

House of Yes Publicity Photo #2 The Pascal family is trapped in time and in collective delusion. The eldest daughter is named Jackie O (brilliantly played by Liz Ladach-Bark). It quickly becomes apparent that Jackie O is a very disturbed girl. Ladach-Bark speaks in a patrician tone reminiscent of Katherine Hepburn and gives a wonderful unhinged quality to her character.

Miranda Zola (Mrs. Pascal) is an elegantly beautiful performer whose character encourages and sustains an incestuous relationship between her children. Both chilling and funny, Mrs. Pascal seems to admire the twisted relationship between her twin children.

The play is set at Thanksgiving, which can be a cliché of family drama-trauma, but this family melee is done skillfully and without histrionics. Youngest son Anthony (played with subtle ferocity by Tom McGregor), who has dropped out of Princeton, a failure at most everything save for his role as antagonizing brother, is trying to keep up with his big brother Marty in more ways than one and taunts Jackie O, telling her that Marty is bringing home a friend. The oldest brother has been away at college and his sister has been away at a mental institution. When Marty Pascal (the outstanding Andrew Yearick) steps through the door with a fiancée Lesly (Devon Carson, who does a commendable job playing the the production’s one “normal” person), all hell breaks loose – literally. Yearick truly looks like Joe College of whom his mother should be proud. The unraveling of his psyche and his helplessness to the machinations of Jackie O is infuriating and spellbinding.

Within this play are three scenes that might stay with you for a time after leaving the theatre:

A scene between Ms. Ladach-Bark and Ms. Carson is terrifying and yet funny. Jackie O is brushing Lesly’s hair while interrogating her about Marty. It seemed as if she were going to bludgeon her with the brush or rip her neck open, but she let the catty remarks fly while sweetly brushing. It was a nail biter moment like Clemenza in the back seat in “The Godfather”.

The most riveting scene is the sick reenactment of the JFK assassination that serves as foreplay for the fevered sex between siblings. Jackie O dons a pink Chanel suit with macaroni and ketchup standing in for the brains of the dead president. Marty pretends to be riding in the convertible and Jackie O shoots him, then runs to his side to play the part of the terrified widow. The line uttered in the first scene about Jackie O holding Marty’s penis in the womb is echoed without words.

House of Yes Publicity Photo #3 Finally, the scene between Mr. McGregor and Ms. Carson is disturbing in a different way. It is hard to fathom that fiance Lesly would fall for Anthony’s line of bull. He claims to be a virgin with a brain tumor and he needs to have sex before he dies. Anthony then drops the bomb that Jackie O and her fiance Marty are lovers, which Lesly does not believe until she sees it with her own eyes. It’s not that the sibling relations revolt her but that she plays into their hands to stay in the game. The whole family is lined up against her at this point but Lesly thinks she can still get away with the prize of Marty. In fact, the whole family is lined up for Jackie O because she has always gotten her way. She has flushed a lizard down the toilet because she thought that Marty loved it more than her. Mrs. Pascal explains, “Jackie O has always gotten her way. That’s just the way it is.”  (The Pascals are like wolves that feed on outsiders. It is intimated that Mr. Pascal’s abandonment was really a murder that coincided with the hole being dug for central air conditioning. )

A great deal of skill and passion went into making an act of incest really an act of love. Yes, it is twisted  – but the actors, and superb direction by Kaiser Ahmed, gives one a sense that the damage was done before the twins took to playing house to a higher adult level.

The set design, by Mike Mroch, is quite beautiful and authentic. (I found myself going through a flashback to my grandmother’s house, with the polished wood bar and the trapezoid coffee table.) Gleaming martini glasses and decanters add a glint of extra danger to the action. The use of picture frames as windows is a touch of brilliance as well (although they could just as well have been funhouse mirrors!).

This production was a breakneck thrill ride for me. Everything is done impeccably. The director has done a beautiful and seamless job of directing very difficult material. This is an indictment of American privilege that shows how always getting one’s way becomes parasitic. Though horrifying to think that neighbors could be watching this family’s demise, I am glad that I got to be a voyeur in The House of Yes. Take the time to watch-this is theatre at its best.

 
Rating: ★★★
 

House of Yes Publicity Photo #4

The House of Yes runs through May 2nd, 2010 at The Artistic Home Acting Studio, 3914 N. Clark Street in Chicago. Performances are Thursdays at 7:30pm, Fridays and Saturdays at 8:00pm and Sundays at 6:00pm. For tickets visit www.theartistichome.org or call 866-811-4111.

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REVIEW: Girls vs Boys (The House Theatre and AMTP)

Cool atmosphere jilted by annoying show

 

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The House Theatre and AMTP* presents
 
Girls vs Boys
 
Book/lyrics by Chris Matthews, Jake Minton and Nathan Allen
Music by
Kevin O’Donnell and Nathan Allen
Directed by
Nathan Allen
Music directed by
Ethan Deppe
At the
Chopin Theatre, 1543 W. Division (map)
thru May 9th  tickets: $15-$25  |  more info

reviewed by Katy Walsh

Break-up vs Kill. If given the consequence-free choice, would you have the uncomfortable conversation with the pending ex or just shoot him? The House Theatre, in partnership with the American Music Theatre Project at Northwestern University, presents Girls vs Boys. The lives of six teenagers unravel in a party world GVB 3 of drugs, alcohol, sex and guns. George wants to be cool. Casey wants to feel something. Jason wants his old girlfriend. Sam wants her brother’s respect. Kate wants Jason. Lanie wants safe sex. To get what they want, they pop Ritalin, slam beers, screw friends and fire weapons… all while singing and dancing. Girls vs Boys is “High School Musical” vs “Gossip Girl” where disputes are settled in the Wild West way.

Visual vs Audio: From the moment of arrival, the transformed Chopin Theatre is impressive. Collette Pollard has created a rock concert venue complete with mosh pit. Ticket holders are given the opportunity to join the party in the pit standing or take traditional audience seats. The band is visibly housed on the stage. The action will take place in an area extending in front of the band and encircling the pit. The ensemble will mingle with pit people during scenes. The visual is unique and the anticipation is high.

Then the music starts. The band is loud and it’s hard to hear the singing. There are two hand-held microphones shared between the six main characters. Without the hand-held ones, the entire ensemble is reliant on ear pieces that are inconsistent in volume. To compensate, some of the singing is more like screaming. The screechy tunes might not be noticeable in a rock concert but Girls vs Boys is a musical. Or is it?

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Musical vs Concert: A musical is a play with songs. A concert is songs and play. Girls vs Boys is watching kids at a concert sing with the band, act impulsively and mess up their relationships. This show has a long playlist with in-between conversations that are predictable and trite. It’s similar to concert moments when the band goes  unplugged with an anecdote between songs. If Girls vs Boys was all about the music, dialogue would disrupt the concert flow. Unfortunately, the tunes GVB 5themselves are not memorable. Although the band jams rock, the singers project pop. The fusion is awkward. Even though the script dialogue is flawed, the excessive number of songs promotes a strong desire to return to discourse. “Say it! Don’t sing it!”

Singing vs Dancing: Girls vs Boys is more like a concert with great back-up dancers. Tommy Rapley has choreographed high energy numbers for the cast to dance their way into exhaustion. Climbing in and out of the pit, the ensemble has synchronized, gun-toting, dramatic vigor. Notably, whenever one of the guys takes drugs, their shirt comes off. It was oddly like a Public Service Announcement saying ‘don’t take drugs. They make you strip!’ The good news is the guys are ripped. The bad news is it feels like any Jason Statham movie where the weaker the script, the more he takes his shirt off. Shockingly, Girls vs Boys, shirts came off and I STILL didn’t love it!

 
Rating: ★½
 

Running Time: Two hours and thirty minutes included a fifteen minute delayed start and a ten minute intermission

Extra Credit:

  • House’s blog entries on Girls vs Boys
  • Chris Jones lists House’s 2010-2011 Season
  • Girls vs Boys production photos courtesy of John Taflan.

*AMTP = American Music Theatre Project at Northwestern University 

 

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