Review: Rantoul and Die (American Blues Theater)

     
     

White-Trash angst in central Illinois…..a dark comedy

     
     

Francis Guinan and Kate Buddeke in American Blues Theater's 'Rantoul and Die'. Photo by Paul Marchese

  
American Blues Theater presents
   
Rantoul and Die
  
Written Mark Roberts
Directed by Erin Quigley
at Victory Gardens Richard Christiansen Theater (map)
through May 22  | 
tickets: $32-$40  |  more info

Reviewed by Catey Sullivan

Surely few things are more artistically satisfying than watching Francis Guinan on stage in full-frontal, scene-stealing, emotional-meltdown mode. The man can make knocking over a chair resonate with the power of a Shakespearian soliloquy. Okay, maybe that’s a little hyperbolic. But not much. Guinan is one of Chicago’s MVP’s of the theatrosphere, and he’s in excellent form with American Blues Theater’s staging of Rantoul and Die. As is the rest of the stellar cast in playwright Mark Roberts’ profane study of white trash angst in the flatland middle of nowhere.

Kate Buddeke and Cheryl Graeff in American Blues Theater's 'Rantoul and Die' by Mark Roberts. Photo by Paul MarcheseAt roughly 110 miles south of Chicago and half an hour or so outside of Champaign, Rantoul is the flyover territory of flyover territory. In Roberts’ largely plotless, utterly tasteless and immensely entertaining dark comedy, the denizens of Rantoul are likewise the sort of folk who one tends to overlook if not outright avoid. These are a breed of loud, ignorant mouth-breathers to whom political correctness is a foreign concept. They refer to the developmentally disabled as "mongoloid retards." The closest they get to fine dining is stopping in at the local Dairy Queen instead of using the drive-thru.

But this group is also, in the four person ensemble directed by Erin Quigley, oddly likable. They may be at the bottom of society’s ladder but on that lowest of rungs, there is a singular integrity. These are people who say precisely what they think – the filters that most of us use to smooth out the rough edges of our uglier inclinations are absent in this group. There’s an honesty to their no-class brawling and profanity, perverse to be sure, but also unvarnished and unafraid. When Rallis, as pasty-faced a middle-age mope as you’ll ever encounter, fails in his attempt at suicide, his best friend Gary (Guinan) gives him a harsh dose of extreme tough love in lieu of sympathy:

“Suicide is like jerking off in a salad bar,” Gary berates, “There’s no regard for the people left behind.” From there, his get-a-grip lecture really gets profane.

The woefully depressed Rallis, it must be noted, is played by Alan Wilder. For those keeping track, that means that half the cast of Rantoul and Die is comprised of Steppenwolf Theatre ensemble members. Wilder and Guinan have as long history, and their scenes together here have an ease, a depth and an effortless authenticity that only comes from years of working together. The women in the cast – Kate Buddeke as Rallis’ unhappy wife Debbie and Cheryl Graeff as Callie, Debbie’s manager down at the DQ – come from the storied ranks of the American Blues Theater. Together, the foursome is toxically effective.

Plenty happens in Roberts’ atmospheric tale, including a shooting that leaves one character brain dead (“Summabitch has deviled ham in his head”) about 40 minutes into the 90-minute piece. But plot isn’t the point here. Roberts’ peculiar, pungent brand of storytelling isn’t about a conventional arc so much as it is a portrait of a very particular demographic (although to be sure, each of the four characters are idiosyncratic individuals more than representatives of a type.)

     
Francis Guinan and Alan Wilder in American Blues Theater's 'Rantoul and Die' by Mark Roberts. Photo by Paul Marchese Francis Guinan and Kate Buddeke

The play works because the dialogue is so barbed-wire sharp and delivered with such deceptively effortless agility by Quigley’s ensemble. The filthy blue-collar rants of Debbie, Callie, Gary and Rallis are capsules of comedy as nasty and black as the black plague. Clearly, Rantoul is no place for those with a low tolerance for profanity, gruesomely violent imagery or extraordinarily vulgar sexual references.

As Rallis, Wilder is a quavering muddle of a whipped porch dog of a man, haplessly clinging to a wife who is beyond over him. As Rallis’ exasperated, long-out-of-love spouse, Buddeke is an evolving mixture of ruthlessness and regret. She also makes it clear that Debbie is a woman who is lonely and frustrated – and surprisingly vulnerable under all her toughness. Which brings us to Graeff, as the unnervingly cheerful Dairy Queen manager. She’s got a second act monologue that is both hair-raising in its horror-porn narrative and a sprightly testimony to the power of positive thinking and a sunny can-do attitude.

Given the lack of a plot and the jaw-dropping crudeness of the dialogue, you wouldn’t want Rantoul and Die to fall into the hands of amateurs. It takes a seasoned, top-tier group of artists to pull of something this tasteless with such brutal honesty. This production has that. One can only hope we see more of these ABT/Steppenwolf hybrids in the future.

  
  
Rating: ★★★½
  
  

Francis Guinan and Alan Wilder in American Blues Theater's 'Rantoul and Die' by Mark Roberts. Photo by Paul Marchese

 

All photos by Paul Marchese

Artists

Cast

Kate Buddeke*, Cheryl Graeff*, Francis Guinan and Alan Wilder.

Production / Creative

Mark Roberts (playwright); Erin Quigley (dirctor); Baleigh Isaacs (stage manager), Sarah E. Ross* (scenic), Brian Claggett* (lighting), Samantha C. Jones* (costumes), Lindsay Jones*, Scott Nielsen (sound), Sarah Burnham* (props), and Joe Foust* (fight choreography).

*American Blues Theater Ensemble and Artistic Affiliates

Rantoul and Die poster - American Blues Theater

3 Responses

  1. There’s no question the cast is talented and full of passion, but there isn’t a single human character (or moment) in this entire play. Last i looked, towns like Rantoul had human beings living in them. That must be beyond the playwright’s understanding. This is the work of a fraud. It’s also pointless. Go back to TV, you Letts-wannabe.

    • Baxter – I have not seen this particular performance of Rantoul and Die. However, I was in attendance of the original workshop performance at the Station Theatre in Urbana, Illinois and I could not disagree with your analysis of the play more. I have met several people throughout my life that are very much like the people in this play and, having met the playwright, I know for a fact that many of the people and incidents were based off of real life events. Just because you have never met these people or experience the events in this play does not mean that they don’t exist. I personally find Mr. Roberts to be one of the most talented and “real” playwrights I have ever had the privilege to experience on stage.

  2. I saw the show and loved it – The acting is amazing, and for a while there I felt like I was watching a real old-style raw Chicago piece of theater – risks and all. I don’t get all the vitriol that seems to be aimed at this play AND playwright based on the guy having carved out a successful TV career. He started in theatre, probably long before Mr. Letts was a blip on the screen. Lots of good work here – highly recommend!

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