REVIEW: Night and Day (Remy Bumppo Theatre)

 

The Real Story Vanishing in the Dead of Night

 

Ruth (Linda Gillum) unleashes her rage over the death of Milne at Guthrie (Jeff Cummings) in Remy Bumppo Theatre Company's production of Tom Stoppard's Night and Day, Sept. 22 through Oct. 31 at the Greenhouse Theater Center, 2257 N. Lincoln Ave.  Tickets at www.remybumppo.org or 773-404-7336. Photo by Johnny Knight.

   
Remy Bumppo Theatre Company presents
   
Night and Day
   
Written by Tom Stoppard 
Directed by
James Bohnen
at Greenhouse Theater Center, 2257 N. Lincoln (map)
through October 31  |  tickets: $35-$40  |  more info

Reviewed by Paige Listerud

What to make of Remy Bumppo’s latest production Night and Day? On one hand, the whole production is a sexy, easy fit. James Bohnen’s spot-on cast slips casually and effortlessly into Tom Stoppard’s dialogue–just like an old-school lounge lizard would slip into a dry martini or a pair of silk pajamas. On the other hand, what with the United Nations releasing its recent report on atrocities in the Democratic Republic of Wagner (Shawn Douglass) risks an upclose interview with dictator Mageeba (Ernest Perry, Jr.) in Remy Bumppo Theatre Company's production of Tom Stoppard's Night and Day, Sept. 22 through Oct. 31 at the Greenhouse Theater Center, 2257 N. Lincoln Ave.  Tickets at www.remybumppo.org or 773-404-7336. Photo by Johnny Knight. Congo, Stoppard’s cunning 1978 play still looks like a bunch of white people sittin’ ‘round, talkin’ while a country made up of darker-skinned people burns all around them. Set in the fictional African nation of Kambawe, the home of copper-king ex-pat Geoffrey Carson (David Darlow at our showing) is hardly the Court of Versailles. Nevertheless, on the brink of civil war, who has time to talk about fickle fame, sex, Scotch or the role of the media? These characters do.

Into this jaded milieu, Stoppard interjects the question: Does a free press matter? Define what you mean by a free press, etc. It’s this et cetera that Bohnen’s actors handle so well. Dick Wagner (Shawn Douglass), an Australian-born reporter for the Globe, solidly provides most of the sly, tough cynicism through his omnipresent worry over getting scooped. His colleague and comrade, photojournalist George Guthrie (Jeff Cummings), brings battle weariness and much-needed urgency and passion to a very talky show. Greg Matthew Anderson, playing freelance journalist Jacob Milne, achieves likeability and freshness with a character who sees no problem with blurring the line between serious and tabloid news. If Night and Day reveals anything, it’s Stoppard’s gift for prophecy.

These few, these happy few, descend on Carson’s home, much to the chagrin of his wife, Ruth (Linda Gillum), because he possesses an untapped, unsevered line and a Telex machine to get the news out to the West. They are the true seekers of the story,  since the rest of Western press is still hanging out in the lobby of the local Sheraton. Carson also has connections with the rebel leader, Colonel Shimbu, whose Ruth (Linda Gillum) seduces young reporter Milne (Greg Matthew Anderson) in Remy Bumppo Theatre Company's production of Tom Stoppard's Night and Day, Sept. 22 through Oct. 31 at the Greenhouse Theater Center, 2257 N. Lincoln Ave.  Tickets at www.remybumppo.org or 773-404-7336. Photo by Johnny Knight. scheduled late-night meeting with the dictatorial President Mageeba (Ernest Perry, Jr.) leads to devastating consequences.

Politics aside, Stoppard situates blithe and cynical Ruth at the center of his satire, being the only character whose unspoken thoughts are transparent to the audience and being the one whose name–meaning mercy, sympathy and compassion–contrasts starkly with the ruthlessness all around her. Cherchez la femme, right? And what a femme she is. Gillum doesn’t hit a wrong note, negotiating dialogue directly to the audience and exchanges with her fellow actors like a master magician. Hers may be a performance that redefines the word glib. She excoriates the tabloid press for their paparazzi stalking of her divorce and marriage to Carson in one scene, only to fall for the young, idealistic defender of the tabloid press in another. I’m still pondering how she makes it look so easy, believable, and above all, sympathetic.

For the most part, Night and Day flows as smoothly single malt Scotch from a never-ending stream. Bohnen successfully builds tension with Guthrie’s suspicion of Carson, Milne and Guthrie’s departure to meet Colonel Shimbu, and the anticipated, nerve-racking visit from President Mageeba.

Perry’s entrance as Mageeba, certainly does not disappoint. He’s every bit as gracious, intelligent and threatening as a Western-educated, media-conscious despot should be. Regrettably, Mageeba’s ad hoc interview with Wagner drags and the play’s bit of stage violence comes off as unconvincing. It seems strange that Remy Bumppo should stumble here at such a critical moment. My hopeful assumption is that this was an off performance in an otherwise impeccable production.

Wagner (Shawn Douglass) gives Milne (Greg Matthew Anderson) a lesson in the ethics of journalism in Remy Bumppo Theatre Company's production of Tom Stoppard's Night and Day, Sept. 22 through Oct. 31 at the Greenhouse Theater Center, 2257 N. Lincoln Ave.  Tickets at www.remybumppo.org or 773-404-7336. Photo by Johnny Knight.

Does Stoppard ever resolve the question of the necessity of a free press? Tough to say—on the one hand, you don’t want the Mageeba’s of the world in charge of what’s fit to print; on the other, the media is a capitalist enterprise that trivializes critical news and foregrounds trivia, until all information turns into fodder before its gaping maw. Guthrie’s defense of a free press remains the most poetic in the play:

People do awful things to each other. But it’s worse in places where everybody is kept in the dark. Information is light. Information, in itself, about anything, is light.

That is a plea appropriate to 1978, long before the 24-hour news cycle and the digital age. Now we are awash in information, both qualified and unqualified, and we can hardly now call all information light.

We few, we lucky few citizens of open, industrialized nations have, for a long time, used the media as much as a distraction from daily cares as for timely and relevant news. That’s a very human tendency. All the same, I found myself wanting to turn away from the diverting chatter of Stoppard’s principal characters. I grew weary of the same jaded arguments from people still living in a bubble of white and colonial privilege. I longed for Stoppard’s most silent character of the play, Francis (Michael Pogue), the Carson’s servant, to report his truth and have his perspective brought front and center.

   
   
Rating: ★★★½
   
   

Extra Credit

Guthrie (Jeff Cummings) relays to Wagner (Shawn Douglass) and Carson (David Darlow), the tragic end of reporter Milne's life, in Remy Bumppo Theatre Company's production of Tom Stoppard's Night and Day, Sept. 22 through Oct. 31 at the Greenhouse Theater Center, 2257 N. Lincoln Ave. Tickets at www.remybumppo.org or 773-404-7336.   Photo by Johnny Knight.

Important Event on October 11th:

 

October 11: "Is the Truth Front Page News?" Journalist Panel

A free journalist panel hosted by WBEZ’s Richard Steele

Performance excerpts from Night and Day, highlighting the risks and responsibilities of foreign correspondents, will springboard a charged panel conversation, hosted by WBEZ’s Richard Steele, on where readers now turn to get the truth.

 

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Review: Theories of the Sun (Sideshow Theatre)

Yep, it is possible to laugh at Death

 

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Sideshow Theatre presents
  
Theories of the Sun
   
Written by Kathleen Akerley
Directed by Jonathan L. Green and Megan A. Smith
at Theater Wit, 1229 W. Belmont (map)
through October 3rd  |  tickets: $15- $20  |  more info

Reviewed by Katy Walsh

Where does Death take a holiday? Apparently, a remote hotel in France! Sideshow Theatre presents the Midwestern premiere of Theories of the Sun. A mother and daughter duo seek medical advice from a quirky doctor. The doctor is in residence at a boutique inn. Also vacationing at the locale are a couple of playwrights, a scotch- infused Tennessee Williams and a frothy-wine sipping Tom Stoppard. Another hotel guest, Mr. Asher, collects theories about the sun from different cultures. Looming invisibly to most of the guests, Death waits for someone. Theories of the Sun is a mysterious gathering of a hodge-podge of characters. Each confronts TheoriesoftheSun-02Death and puts in a special order for preferred exit timing. Despite the primary storyline being the unusual circumstances surrounding the mother and daughter, its boys’ night! Individually and collectively, the guys overshadow with eclipsing humor and vibrant movement. Sideshow Theatre’s Theories of the Sun proves the hypothesis that is possible to laugh at Death.

Directed by Jonathan L. Green and Megan A. Smith, with choreographer Katie Spelman, theories of the sun are illuminated with poetic, fluid motion. The synchronization is the bright spot to the story. A game of blindman’s bluff is an effervescent dance with Death. The ensemble, sporting a variety of accents, is dazzling. Matt Fletcher (Stoppard) delivers his British wit with a droll smugness. Uttering lines like ‘being not in tune,’ Fletcher is hilarious as an insipid playwright caught up in semantics. Andy Luther (Williams) plays it perfectly understated as the southern-speaking, unapologetic drunk. Luther’s face-off with Death is a deliciously defiant monologue of fearlessness that unexpectedly ends in tenderness. Jesse Young (Dr. Giraud) is hysterical as an eccentric doctor conducting a series of odd tests. Young deadpans ludicrous statements for riotous results. The storyteller of sun theories, Dylan Stuckey (Asher) is most engaging when he silently reacts to other characters. The entire cast revolves around Death in stunning visuals in a mime-type ballet and exquisite fifties finery (Costume Designer David Hyman).

 

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Playwright Kathleen Akerley has penned a life-and-death tale with eclectic characters. Although the mother-daughter storyline loses some of its luster from recently being Hollywood-ized, Akerley’s provides intrigue in her other character choices and surprising twists. Theories of the Sun is a thought-provoking, entertaining dance to the death. With the finale’s hindsight, you’ll want to relive it for Death’s subtle entrance.

   
   
Rating: ★★★
   
   

Running Time: Two hours and thirty minutes includes a thirty minute intermission

Nora Dunn and her buddy Jesse Young

 

 

SHOW SIDENOTE: “Saturday Night Live” alum Nora Dunn was in the audience on opening night. Pictured here with her buddy, Jesse Young 

 

 

 

 

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REVIEW: The Real Inspector Hound (Signal Ensemble)

Hammed-up Stoppard fails to find the laughs

 

(left to right) Moon (Philip Winston) and Birdboot (Jon Steinhagen) comment on the play while Cynthia (Meredith Bell Alvarez) and Inspector Hound (Joseph Stearns) act in the play, in Tom Stoppard’s 1968 satire “The Real Inspector Hound,” Signal Ensemble Theatre’s inaugural production in their own venue - running through September 18.

        
Signal Ensemble Theatre presents
    
The Real Inspector Hound
      
By Tom Stoppard
Directed by Ronan Marra
Signal Ensemble Theatre, 1802 W. Berenice (map)
Through Sept. 18  | 
Tickets: $15–20  |  more info

Reviewed by Leah A. Zeldes

From the time the house opens on Signal Ensemble Theatre’s The Real Inspector Hound, to the close of the play, Charles Schoenherr lies unmoving on stage while the other characters cavort around him, never noticing this still figure at stage rear until nearly the end of the one-act comedy.

It just might be the best performance of the play.

Any theater reviewer who takes aim at Tom Stoppard‘s 1968 comedy risks being classified with Birdboot and Moon, the two pompous critics on whom the play focuses. Stoppard, once a critic himself, mercilessly skewers theater writers, painting them as arrogant, self-absorbed and none too ethical.

The critics comment on the play within a play taking place in front of them in highly affected terms, chat through the action, munch chocolates and begin to write their reviews mid-play. Birdboot (Jon Steinhagen), a married, middle-aged philanderer, flaunts his position to entice pretty actresses while piously proclaiming he does no such thing, while Moon (Philip Winston), his paper’s no. 2 critic, continually laments his second-string status. The two put in some comic turns, but they aren’t enough to overcome the broad strokes with which Director Ronan Marra paints the rest of the show.

The meta-play, an exaggerated English country-house mystery, a la The Mousetrap, takes places in what Mary O’Dowd as Mrs. Drudge, the creepy, scenery-chewing housekeeper, tells us is the "drawing room of Lady Muldoon’s country residence one morning in early spring." Scenic Designer Melania Lancy has created a fine drawing-room set in Signal’s spiffy new theater, the former home of now Los Angeles-based Breadline Theatre Group, a 50-seat venue in Chicago’s North Center neighborhood.

(left to right) Cynthia (Meredith Bell Alvarez) listens to Mrs. Drudge's (Mary O'Dowd) story about the new visitor, in Tom Stoppard’s 1968 satire “The Real Inspector Hound,” Signal Ensemble Theatre’s inaugural production in their own venue. Photo by Johnny Knight

(left to right) Cynthia (Meredith Bell Alvarez) flirts with Inspector Hound (Joseph Stearns) while Mrs. Drudge (Mary O'Dowd) takes notice, in Tom Stoppard’s 1968 satire “The Real Inspector Hound,” Signal Ensemble Theatre’s inaugural production in their own venue. Photo by Johnny Knight (left to right) Mrs. Drudge (Mary O'Dowd), Inspector Hound (Joseph Stearns), and Cynthia (Meredith Bell Alvarez) react to a loud noise outside of the house, in Tom Stoppard’s 1968 satire “The Real Inspector Hound,” Signal Ensemble Theatre’s inaugural production in their own venue.  Photo by Johnny Knight

Wealthy widow Lady Cynthia Muldoon (Meredith Bell Alvarez), is entertaining her lover, Simon Gascoyne (John Blick) and — to his embarrassment — Felicity Cunningham (Katie Genualdi), the ingenue he’s also been seeing. Added to the menage is the wheelchair-bound Major Magnus Muldoon (Colby Sellers), half-brother to Lady Cynthia’s late husband, who lusts after his hostess. Meanwhile, the radio announces that a murderous madman is loose in the neighborhood and Inspector Hound (Joseph Stearns), a dog of a police detective, arrives on the scene.

As the play becomes more existential, the critics break through the fourth wall and get drawn into the action on stage. In this production, comic business is piled so high that the parody becomes a parody of itself, laden with overdrawn gestures and pointless shtick, such as when characters continually lift a telephone receiver for no apparent reason. It doesn’t help that the pace crawls.

Through it all, Schoenherr lies, still and untwitching. That’s acting.

   
  
Review: ★½
  
  

Note: Allow time for finding street parking, as well as extra time for traveling to the theater on nights when the Cubs play at home.

 (L to R) Birdboot (Jon Steinhagen) and Moon (Philip Winston) write their reviews of the play during the play, Signal Ensemble Theatre’s inaugural production in their new venue   Photo by Johnny Knight. (L to R) Birdboot (Jon Steinhagen) and Moon (Philip Winston) write their reviews of the play during the play, Signal Ensemble Theatre’s inaugural production in their new venue   Photo by Johnny Knight.

        
        

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Remy Bumppo announces 2010/2011 Season

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REMY BUMPPO THEATRE COMPANY ANNOUNCES 2010/2011 SEASON

Remy Bumppo Theatre Company Artistic Director James Bohnen and Executive Director Kristin Larsen announced today the company’s line up for its 14th consecutive year of think theatre:

 

  Night and Day  
      by Tom Stoppard
    directed by James Bohnen 
    September 22 – October 31
   
   The Importance of Being Earnest
      by Oscar Wilde
    directed by Artistic Associate Shawn Douglass
    November 24, 2010 – January 2, 2011
   
  The Goat, or Who is Sylvia?
      by Edward Albee 
    directed by James Bohnen
    March 30 – May 8, 2011

All shows presented at the Greenhouse Theater Center at 2257 N. Lincoln Ave.

Review: Writers’ “Rosencrantz & Guildenstern Are Dead”

Long live “Rosencrantz & Guildenstern Are Dead

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Writers’ Theatre present:

Rosencrantz & Guildenstern Are Dead

By Tom Stoppard
Directed by Michael Halberstam
Thru December 6th (but tickets)

Reviewed by Oliver Sava

R-and-G-2 The pre-show announcement for Writers’ Theatre‘s Rosencrantz & Guildenstern Are Dead asks audience members to lean forward and engage rather than sit back and relax. This is probably to reduce whiplash when director Michael Halberstam grabs you by the brain, straps in your heart, and sends you flying through the rush of heightened language and emotion that is Tom Stoppard‘s tragicomic masterpiece. The story of Hamlet’s two school chums that become accomplices in their friend’s destruction while discovering the impossibility of life has become one of the defining pieces of modern theater, and Writers’ production never loses steam. Anchored by the electric Sean Fortunato and Timothy Edward Kane as Rosencrantz and Guildenstern, Halberstam directs his cast through the labyrinth of Stoppard’s incredibly dense and wordy script to find the emotion beneath the absurdity of the play, and the end result is a Stoppard production that is accessible while still maintaining its academic roots.

From the very top of the show, Fortunato and Kane capture the chemistry that comes from years of comraderie. They acheive a synchronicity that makes it difficult to imagine the two separately, and even their monologues benefit from the other’s presence. The two actors listen to each other actively and react realistically, and their friendship is a connection to a more relatable and emotional world. Furthermore, they’re fantastic comedic actors, employing a refreshing dryness instead of the over-the-top humor of the other characters. They have incredibly quick reflexes in conversation, creating a forward motion that pushes the entire production with it.

Rosencrantz and Guildensterns are always outsiders, never quite remembering where they’ve come from or are going, and Fortunato and Kane do a remarkable job capturing their collective confusion, but also their collective loneliness. Stoppard’s play has comedic moments, but its heart lies in two friends that are beginning to realize how insignificant they really are. Kane carries the majority of the dramatic weight between the two, considerably more concerned and disturbed by life’s absurdity, but his fears seem to weigh him down less whenever he engages with Fortunato. And while Fortunato stays primarily light-hearted and optimistic throughout the play, his extended monologue in Act Two has the similar sadness and heaviness of Guildenstern’s musings. Its fascinating how the director has found a way to increase the density of the production based on the when the two actors are in dialogue with one another versus the moments when they singularly explore their fears and insecurities.

 

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The other actors all do commendable work, and those playing Shakespeare’s characters do so with a theatricality that is completely appropriate, yet is hilariously over-the-top compared to the title characters’ subtlety. The scenes pulled from Hamlet are all performed with the actors facing upstage, performing to a drop that has been imaged after an empty auditorium; the trick is maybe a little too on the nose of Halberstam, but is still a clever way to emphasize the life versus art themes of the play. These ideas become prevalent when Rosencrantz and Guildenstern interact with the Tragedians and their flamboyant leader, the Player, impeccably portrayed by Allen Gilmore.

Gilmore has found a way to tap into the chemistry that the two lead actors share, and he matches their rapid fire wit with ease. He directs his actors with an iron fist, and while the players’ scenes are primarily comedic, his argument that audiences come to the theater for gratuitous murder, seduction, and incest reveals an intriguing aspect of art’s function: it is a way to experience the dehumanizing and immoral acts that all people secretly desire. While Gilmore handles the humor with fervor, he really shines when he gets to showcase his character’s obsessive personality. After Rosencrantz and Guildenstern abandon the players before they’ve had the chance to perform, the Player performs a monologue describing the pain and humiliation his actors and he shared. Guildenstern criticizes the melodrama of the speech, but in the hands of an actor like Gilmore the melodrama becomes the foundation for honest despair and real pain, a compliment that can be given to the entire ensemble Halberstam has gathered.

 

Rating: ««««

 

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Review: Remy Bumppo’s “Heroes”

“Heroes” is a 4-star salute

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Remy Bumppo Theatre presents:

Heroes

by Gerald Sibleyras
translated by Tom Stoppard
directed by James Bohnen
thru November 29th  (buy tickets)

reviewed by Katy Walsh 

A head of shrapnel, gimp leg and derangement have never been funnier. Remy Bumppo’s Heroes brings three World War I vets together for convalescent camaraderie. Set in an old-soldier home, our heroes amuse each other with tales of heroes-cast2nun slapping, terrace invasion defense strategies and escape plans with a 200-pound dog statue in tow. It’s not your grandpa’s war show about reliving the glory days of WW I. Instead, Heroes is about three outcasts (four if you count the dog) banning together in united tolerance for the final battle, old age.

The attack happens instantaneously. You are held prisoner to hysterical dialogue from the first few lines. Witty repartee and strong character development is the ammo used by playwright Gerald Sibleyras and translator Tom Stoppard. Director James Bohnen sends his best men to the front with inspirational guidance. The troops don’t disappoint. Insane ideas presented in a logical manner, David Darlow (Gustave) leads the charge with dead pan precision in delivery. Goading his buddies to go to Indochina instead of on a stupid picnic or reading and responding to other people’s mail, Darlow is a lovable and hysterical curmudgeon. Paranoid that the head nun is trying to kill him, Roderick Peeples (Phillippe) brings a physical comedy element that includes continuously fainting during the show until he rouses himself by shouting, “Take them from the rear, Captain!” (You learn late in the show that has nothing to do with war.) Completing the nonstop able squadron, Mike Nussbaum (Henri) is the charming 25 year resident vet of the institution. Shy but sane, Nussbaum ultimately commands the trio’s every activity with blunt acceptance and quips like, “You are all barking mad except for the dog.”

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I’ve never served in a war, but I most definitely bond with friends over enemy activities. Heroes is an experience in friendship. Observing the ensemble’s interaction, you can’t help but find comparisons to your own life. Everyone has that friend who always asks “Am I getting worse?” to which your group responds, “I haven’t noticed.” Or the pal who hates everything, refuses to participate and then wants to know if anyone missed him to which your group responds, “Nobody gave a damn.” Or the buddy who goes along with the crazy plan right up until someone wants to transport a 200 pound dog statue up a mountain. Friends are the heroes that help you conquer life’s battles. Go with one to see this show! Hint for the show: watch man’s best friend during the final scene and curtain call.

 

Rating: ««««

 

Aside: The hero to my left, James, says Heroes was an “all star salute.”

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