Review: Down & Dirty Romeo & Juliet (Shattered Globe)

  
  

Who will play your Romeo? Who will be your Juliet?

  
  

Dion Rice (Romeo) and Alice Pacyga (the Nurse) star in Shattered Globe Theatre’s interactive and ever-changing production of DOWN & DIRTY ROMEO & JULIET playing at various Chicago venues.  (Photo: Kevin Viol)

   
Shattered Globe Theatre presents
  
  
Down & Dirty Romeo & Juliet
   
   
Written by William Shakespeare
Directed by Roger Smart
at various Chicago locations (see below)
through July 17  |  tickets: $18   |  more info

Reviewed by Katy Walsh

‘Where art thou Romeo?’  Well, Juliet, last time I saw him, he was on the 94th floor of the Hancock….

Shattered Globe Theatre presents Down & Dirty Romeo & Juliet.  Shakespeare’s greatest love story ever told is being told in various locales around the city.  The Montagues and Capulets hate each other.  Their family feud is the town’s gang problem.  For fun, the Montagues crash the Capulets’ house party. It’s just a silly prank until Romeo falls hard for the host’s daughter.  But he’s not alone in enemy territory, Juliet is equally smitten.  Their forbidden love unites them in fatal ecstasy.  Christina Gorman (Lady Capulet) and Angie Shriner (Juliet) star in Shattered Globe Theatre’s interactive and ever-changing production of DOWN & DIRTY ROMEO & JULIET playing at various Chicago venues.  (Photo: Kevin Viol)The story is familiar.  The surroundings may not be.  Shattered Globe takes Shakespeare’s ‘all the world’s a stage’ to heart and hits the road.  Down & Dirty Romeo & Juliet is a classic to go!

The unique experience starts upon arrival.  At check-in, the audience must pick a side.  Each guest is literally labeled Montague or Capulet.  A cheat sheet of Shakespearian insults is issued to help the discord mood.  Guests are encouraged to concoct personalized abuse from piecing together four columns of choices.  My favorite is ‘grow unsightly warts thou puking maggot-pie.’  It’s all a part of a build-your-own-adventure theme.  Before the show starts, actors are introduced with their potential parts.  By applause and cheers, the audience decides on the starting line-up.  Roles are assigned and the action starts immediately.  There’s no curtain, stage or fourth wall separating the drama from reality.  The story unfolds in between tables.  Because they are wearing street clothes, it’s impossible to tell the actors from the audience. At the Capulet’s dance party, it’s a blur of family enemies and non-acting revelry.  The interactive experience is a surreal engagement. 

Under the direction of Roger Smart, the show is tightly paced professionalism. It’s an impressive surprise. The informality around the show, before it starts and during intermission, seems to indicate a more loose affair.  The charades-in-the-living-room comfy vibe is sidelined as the first line cues up the polished acting.  The Shakespearean prose is delivered with conversational passion. On the night I attended, the doomed lovers were Behzad Dabu (Romeo) and Melissa Nedell (Juliet). Dabu and Nedell have all the youthful innocence of love at first sight: charming, lusty, slightly clumsy flirtation. Their sweet synergy produces a hopeful optimism for a possible different story outcome. The entire cast fights, dances, dies with zesty commitment. Despite the obvious rehearsed mastery, there is still an improv twist.  An actor will interface with an audience member as in conversation or just by stealing a sip of beer.  During my performance, a young girl was coughing during Lord Capulet’s (Brad Woodward) monologue.  With a perfectly uttered ‘we are all dying’ line, Woodward cracks the house up.  Alice Pacyga (Nurse) is hilarious delivering some sass while chomping down at the refreshment table.

Dion Rice (Romeo) interacts with audience member (Balthasar) in Shattered Globe Theatre’s interactive and ever-changing production of DOWN & DIRTY ROMEO & JULIET playing at various Chicago venues. (Photo: Kevin Viol)The Hancock provided incomparable scenery to the Shakespearean tragedy. The sunset magnificently filled the room with a vibrant glow. Although missing its earlier line cue, the moon did finally rise beautifully over the lake. In the background, the city shimmered into its evening wear adding an urban enchantment. It looks stunning but it sounds not so attractive. The only issue with the Hancock locale is the noise level. The show utilizes the Observatory’s café for the production. It’s not closed to the non-theatre public. Unfortunately, the chatter is most distracting at very tender moments when the actors use softer voices. Because the tale is legendary, the issue doesn’t poison the overall effect. It just annoyingly stabs it… several times. Down & Dirty Romeo & Juliet is an entertaining one-of-a-kind theatrical experience…every show!

  
  
Rating: ★★★
    
   

Performance Times and Locations (more to come)

        
Monday, May 16th, 7:30pm
Hancock Observatory, 875 N. Michigan
Tickets only $3 
Buy Tickets
  Thursday, May 19th, 7:00 PM
The Spot, 4437 N. Broadway
Tickets: $18 
Buy Tickets
            
Sunday, May 22nd, 7:30pm 
Hancock Observatory, 875 N. Michigan  
Tickets: $18
Buy Tickets
  Tuesday, May 24th, 7:00pm
Schubas, 3159 N. Southport
Tickets $18
Buy tickets
       
Sunday, May 29th, 7:00pm
Justins, 3358 N. Southport  
Tickets: $18
Buy Tickets
   July 17th, 24th and 31st
Millennium Park, 201 E. Randolph
Times and Tickets: TBA

Angie Shriner (Juliet) and Dion Rice (Romeo) star in Shattered Globe Theatre’s interactive and ever-changing production of DOWN & DIRTY ROMEO & JULIET playing at various Chicago venues. (Photo: Kevin Viol)Running Time:  Two hours and fifteen minutes includes an intermission

  
  

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REVIEW: The Beauty Queen of Leenane (Shattered Globe)

     
     

Shattered Globe is back, better than ever

     
     

Linda Reiter (Mag) and Eileen Niccolai (Maureen) star in Shattered Globe Theatre’s production of Martin McDonagh’s The Beauty Queen of Leenane.  Photo Credit: Kevin Viol

      
Shattered Globe Theatre presents
   
The Beauty Queen of Leenane
  
Written by Martin McDonagh
Directed by
Steve Scott
at the
Athenaeum Theatre, 2936 N. Southport (map)
through Feb 27  | 
tickets: $25 – $32  |  more info

Reviewed by Catey Sullivan

In The Beauty Queen of Leenane, Martin McDonagh has crafted one of drama’s greatest monster mothers, a matriarch of such suffocating dominance and staggering selfishness that she almost makes Medea look like June Cleaver. At least Medea had decency to put her children out of their misery at a fairly young age. Mag Folan, by contrast, seems to live solely to make her grown daughter Maureen’s life as close to hell on earth as one can get. It’s no wonder things get blisteringly, destructively hot in the Folan kitchen by the shocking finale of McDonagh’s tragic-comedy.

With a pair of intensely complex roles for women whose ingénue days are well behind them, The Beauty Queen of Leenane is an excellent vehicle to usher in the rebirth of Shattered Globe to the Chicago theater scene. One of the most dismaying arts stories of 2010 came with the announcement that the off-Loop powerhouse was disbanding. The dissolution surely wasn’t for lack of talent – with shows including Requiem for a Heavyweight (our review ★★★★) and Suddenly Last Summer (review ★★★★) and Days of Wine and Roses, the company consistently delivered dramatic riches.

Joseph Wiens (Pato) and Eileen Niccolai (Maureen) star in Shattered Globe Theatre’s production of Martin McDonagh’s The Beauty Queen of Leenane. Photo Credit: Kevin ViolMany of Shattered Globe’s best productions were anchored by the team of Linda Reiter and Eileen Niccolai, whose reunion as (respectively) mother Mag and daughter Maureen is reason for a bit of post-holiday rejoicing.

As stories of survival and sanity go, Beauty Queen’s a corker. And just when you think McDonagh has shown the plot’s full hand, the tale takes a twist that’ll stand the hair on the back of your neck on end. In those final moments, key events are called into tantalizing question, and the foundation of what you thought to be true turns out to be no firmer than shifting quicksand.

Equally disconcerting is the sudden, scary revelation McDonagh implies about the stranglehold the twin hands of fate and genetics can have on society’s most economically and emotionally vulnerable. The rich and the strong may have the means to escape heredity and circumstance. The poor and the fragile get crushed by them.

Director Steve Scott keeps a nicely controlled rein on the storytelling here: Less is infinitely more as Niccolai’s Maureen simmers in a slow but inexorable burn toward an explosion of rage. Under the ruthlessly demanding edicts of her mother, Maureen moves with precise control but has the wild-eyed, feral look of a fox desperate enough to chew off its own leg to escape the trap it is entangled in. As Mag, Reiter scrunches her face into a permanent gargoyle grimace, making the character both monstrous and pathetic – and making Maureen’s plight all the more untenable. Something has to give between mother and daughter before the last scene, and so it does, with all the violence and horror one expects from a McDonagh play.

     
Joseph Wiens (Pato) and Linda Reiter (Mag) star in Shattered Globe Theatre’s production of Martin McDonagh’s The Beauty Queen of Leenane.  Photo Credit: Kevin Viol. Linda Reiter (Mag) and Eileen Niccolai (Maureen) star in Shattered Globe Theatre’s production of Martin McDonagh’s The Beauty Queen of Leenane.  Photo Credit: Kevin Viol

Of course, Beauty Queen wouldn’t be nearly as powerful if it was a relentless grimfest. There’s more than a little humor threaded through McDonagh’s text – although humor of the dangling gallows variety to be sure. The cast is mostly up to the demands of the script, from its bleakly absurdist lighter moments to the irrevocable tragedy of its darker ones.

As Pato, the loving young man who represents Maureen’s only chance of escape, Joseph Wiens provides the narrative’s tender moments, portraying just the sort of gentle, understated and stout-hearted hero one suspects could heal Maureen’s deepest wounds. As Pato’s brother, Kevin Viol was a bit too tightly wound at the production’s final preview. Hopefully, his exaggerated jitteriness will lessen as the run continues.

Here’s hoping that run is long and prosperous for Shattered Globe, and that many more SG seasons are in store.

  
  
Rating: ★★★½
   
   

Kevin Viol (Ray) and  Eileen Niccolai (Maureen) star in Shattered Globe Theatre’s production of Martin McDonagh’s The Beauty Queen of Leenane running through February 27, 2011, at the Athenaeum Theatre, Studio 2, 2936 N. Southport in Chicago. Photo Credit: Roger Smart

     
     

Theater Wit opens smart performance space in Lakeview

Architect Richard_Kasemsarn (photo by Dick Smith) Architect Richard Kasemsarn with the plan of Theater Wit. (Photo by Dick Smith.)

 

Theater Wit: Chicago’s newest performance space opens

 

By Leah A. Zeldes

"It’s jaw-droppingly different," says Jeremy Wechsler, artistic director of Theater Wit, about his troupe’s new home.

After 16 months of a $1.3-million joists-out renovation, the one-time post office adjoining Theatre Building Chicago is now the sparkling new Theater Wit, 1229 W. Belmont Ave. (map), a dynamic new multi-performance space. The building, most recently Bailiwick Arts Centre, still has a few i’s to dot and t’s to cross before the city of Chicago grants its Public Amusements Venue license. Wechsler expects it in mid- Theater Wit lobby (photo by Joel Wanek) May; for now, Wit is running its inaugural play, Spin (our review ★★★), on a "suggested donations" basis. Valet parking isn’t in place yet, either, but for the time being, Wit has arranged free parking in the lot behind Cooper’s restaurant across the street.

The building now houses three 99-seat black-box theaters, providing a new showcase for intimate local productions.

"This is a size of theater that didn’t exist," Wechsler says. "There were (too small) 70-seat theaters, in which you could never turn a profit on a show, and (too expensive) 150-seat theaters … in which you could never turn a profit on a show. I really wanted this size of theater for myself."

Along with Wechsler’s Theater Wit company, Bohemian Theatre Ensemble, Shattered Globe Theatre and Stage Left Theatre will share the space as resident troupes, contributing work to the building and using about 75 percent of the performance time, with the remainder available for rental. In the fall, once all the theaters are up and running, Wit will introduce a flex-pass arrangement for tickets to all productions.

Architect Richard Kasemsarn explains that the theaters are cleverly separated by dressing rooms to create easy backstage access and keep sound from bleeding from one to the other. They are also insulated from exterior noise, save for occasional seepage through the brick wall from the adjoining Theatre Building. New metal joists support a variety of lighting configurations.

Theater Wit lobby (photo credit: Joel Wanek) One of the three theaters will feature flexible seating, not yet installed. Seats in the other two, salvaged from a Bolingbrook high-school auditorium, are surprisingly wide and comfortable, and they’re spaced with reasonable leg room, although their incline and offset don’t quite keep tall people from blocking your sight lines.

Theater Wit exterior (photo credit: Joel Wanek) Architectural salvage provides handsomely quirky decorative elements through the space, although you won’t mistake this for a posh downtown theater. It does retain that hand-built, slightly rough quality common to Chicago storefronts. Kasemsarn, who teaches at the School of the Art Institute, recruited students to help with the finishing.

The modest lobby features a bar, and the building has ample restrooms — a seven-stall ladies’ room should minimize lines at intermission. Oversized ductwork is intended to keep theater goers at comfortable temperatures without contributing noise.

"I really want to control everything from the time you hit that lobby door," Wechsler says.

Theater Wit architectural drawings (photo by Dick Smith)

REVIEW: Private Lives (Chicago Shakespeare)

Noël Coward skewers conventional morality with droll finesse

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Chicago Shakespeare Theatre presents:

 

Private Lives

 

by Noël Coward
directed by Gary Griffin
thru March 7th (ticket info)

reviewed by Catey Sullivan 

For delivering comic barbs with Cowardesque suave perfection, it’s tough to beat Robert Sella. One expects he could make even the most insipid rom-com crackle, zing and pop through sheer force of his timing and droll finesse. Noel Coward’s Private Lives – wherein Sella is currently stealing the show with his irresistible irreverent panache – is, of course, anything but insipid. It snaps from start to finish with wisdom and witticisms, many at the cost of so-called conventional morality. As Elyot Chase in Chicago Shakespeare’s production of Coward’s sparklingly well-made play, Sella seems born to wear the debonair character’s smoking jacket while tossing off withering repartee with the effortless brilliance of Beethoven practicing his scales. Almost.

private-lives-2 That sterling, razor-witted acumen with Coward’s inarguable wit isn’t quite enough. Yes, Sella can ignite an exquisite maelstrom of delicious comedy simply by flicking a napkin or aping a boxer’s stance. But in addition to humor, Private Lives rests on sexual chemistry, and there, director Gary Griffin’s staging – and Sella – fall short.

When Elyot and his ex-wife Amanda Prynne meet cute whilst on their respective honeymoons to new spouses, the attraction between former spouses is so white-hot that they abandon their new partners and flee for Amanda’s Parisian flat for a solid week of wall-to-wall sex. Or at least, it should be white-hot. Here, Elyot and Amanda (Tracy Michelle Arnold, worldly, brittle and dry as a perfectly aged Savignon Blanc) are more intellectual than sexual soul mates. Quip for quip, Amanda and her ex- are as perfectly matched as Shakespeare’s Kate and Petruchio or Albee’s George and Martha. Watching them spar is a joy. Watching them get busy atop a sleek grand piano? Not so much.

As for Sybil Chase and Victor Prynne – the abandoned half of the two newlywed couples – they’re utterly winning in their indignant conventionality. As the new Mrs. Chase, Chaon Cross is an ingénue with delicate yet unmistakable shadings of a harpy in-training – you just know she’s going to turn into her battle-ax mother by the time she hits 40. And as Amanda’s new husband Victor Prynne, Tim Campbell is a pitch-perfect righteous blockhead, a slab of ham and sensible haircut of a man, all tiresome chivalry and hail-fellow-well-met. He’s the opposite of Sella’s Elyot, physically, morally and intellectually, and the results – both visually and verbally – are hilarious.

private-lives-3 private-lives-4

Not so effective is the intermittently and slowly rotating turntable that Griffin employs to give the audience a sense of voyeurism. While we do get to see the Prynne/Chase shenanigans from every angle, that rotation is a distraction – particularly when it starts up after being still for a while. It can be difficult to focus on the dialogue and characters when suddenly the set starts spinning on its axis, no matter how leisurely. Furthermore, the in-the-round staging means everyone in the audience spends at least some time staring at the backs of heads or (during scenes involving people prone on that piano or the purple velvet fainting couch) the soles of feet. It’s frustrating,

All that said, Private Lives is worthy of its ticket price. It’s Sella’s show, and chemistry or no, he nails the subversive genius of Coward’s wit. Factor in Paul Tazewell’s sleek 1930s costume design (the hats alone are to die for) and you’ve got a production that’s sumptuously handsome. As well as extremely funny.

 

Rating: ★★★

 

Private Lives continues through March 7 at Chicago Shakespeare Theater, 800 E. Grand Ave. Tickets are $55, $68, $75. For more information, call 312/595-5600 or go to www.chicagoshakes.com

Below: First rehearsal – the director talks about staging Private Lives in-the-round

Also, read an interview with director Gary Griffin

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Chris Jones announces 10 best plays of 2009

The Tribune’s Chris Jones announces Top 10 Plays of 2009

For the complete description, explanations and reviews of these plays (and others), be sure to visit Chris Jones’ excellent blog: The Theater Loop


1. The Arabian Nights by Mary ZimmermanLookingglass Theatre  (our review)

 

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2. The History Boys by Nicholas HytnerTimeline Theatre 

 

3. The Overwhelming by J.T. RogersNext Theatre 

4. The Elaborate Entrance of Chad Deity by Kristoffer DiazVictory Gardens (our review)

chaddeity2

5. Blackbird by David HarrowerVictory Gardens (our review)

 

6. Cabaret by Kander and EbbDrury Lane Oakbrook (our review)

 

7. The Mystery of Irma Vep by Sean GraneyCourt Theatre (our review)

 

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8. Graceland by Ellen FaireyProfiles Theatre (our review)

 

9. Oh Coward!devised by Roderick CookWriters’ Theatre (our review)

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10. Stud Terkel’s Not WorkingSecond City e.t.c.

 

Chris Jones’ list of 10 shows that “should have made the list”

Desire Under the ElmsGoodman Theatre

Little Foxes Shattered Globe Theatre 

Miss SaigonDrury Lane Oakbrook

Old Glory Writers’ Theatre

Our Lady of the Underpass Teatro Vista Theatre

Rock ‘n’ RollGoodman Theatre

Top Dog/Underdog American Theater Company and Congo Square Theatre

 Twelfth NightChicago Shakespeare Theatre 

The 25th Annual Putnam County Spelling Bee Marriott Theatre

Review: Shattered Globe’s “Buried Child”

Shepherd’s critique of shattered American dreams connects to a bleak reality many of us have glimpsed.

 

 

Buried Child
by Sam Shepherd
Shattered Globe Theatre

Reviewed by Barry Eitel

Sam Shepherd wrote Buried Child, his ode to the tarnished American dream, in 1978, tapping inspiration from an America disillusioned from a soul-crushing war and economic stagflation. Now, as perpetual war and economic crisis frustrates our own era, Shattered Globe Theatre has revisited Shepherd’s Midwestern epic.

Director Steve Scott  focuses on elucidating the rifting generations in this eulogy for the modern American family unit. Three generations, spanning the 20th Century experience, inhabit the decrepit central Illinois house. Dodge and Halie (a cranky Maury Cooper and caustic Linda Reiter) come from an obsolete agriculture past. Their sons, Bradley and Tilden (Greg Kopp and Gerrit O’Neill), are emotionally and physically handicapped, matching their 1970’s America, nearly a decade after the counterculture revolution came to an abrupt end. Finally, the generation that ushered in punk rock and is represented by Tilden’s son, Vince (David Dastmalchian), and his girlfriend Shelly (Helen Sadler). The play begins with Vince swinging by his grandparents’ house after six years; instead of a fun family reunion, he is baffled because no one, not even his own father, recognizes him.

In Shattered Globe Theatre's "Buried Child", Shepherd’s critique of shattered American dreams connects to a bleak reality many of us have glimpsed. The depiction of this Illinois family just becomes more twisted as the play goes on. With her first glance of the house, Shelley likens it to a Norman Rockwell painting. As evidence of rape, incest, and murder bubble to the surface, any down-home feeling attached to the house quickly dissipates. Themes of family and heritage abound in the play, especially in a ghoulish image that several characters witness—glimpsing a face within a face. Like the splitting generations, Scott punches up these themes, and the play takes on an eerie, nearly Biblical feel.

Kevin Hagan encapsulates this epic mood with his dilapidated set. The world is a fusion of prosperity and poverty, ancient and modern, pride and shame. A static-y television sputters nonsense in front of a torn Second Empire style-sofa. The set also radiates a royal aura: Halie slowly walks down the stairs praising her favorite but deceased son, reeking of Classical Greek tragedy.

Thematically-speaking, some of the performances aren’t in line with the rest of the production, however. Cooper’s Dodge is too much ornery, embittered old man and not enough fallen patriarch. His moments of despair and impassioned anger are still powerful, but they lose teeth because Cooper pushes the humor of the script too far. Kopp has a difficult time balancing his characterization of the one-legged Bradley. He can find Bradley’s imposing, predator side but can’t quite find the infantile counterpoint once his leg is stolen. Sadler’s Shelley is another weaker performance, turning out a bit too annoying.

maurylindaandgerrit-400x266Dastmalachian’s Vince hits the right amount of youthful vigor with just enough instability. As Vince’s shell-shocked father, Tilden, O’Neill manages to be both tender and terrifying. Along with Reiter’s caustic portrayal of Halie, these performances infect the production with suspense, humanity, and madness.

The Shattered Globe production’s staging is dynamic and creepy. Scott fits this story into the intimate stage wonderfully, and uses plenty of levels to illustrate the epic forces shaping the story. Mike Durst’s subtle lighting design helps by imparting an uncanny atmosphere for the world. The design and direction meld to make Shepherd’s creation appropriately perverse.

While Buried Child is definitely darkly funny, the Shattered Globe struggles too hard to make the humor pop. However, the production is still disturbing and undeniably relevant to our situation. Although our national consciousness has altered since the writing of the play, our world is similar to the one Vince dwells in. Shepherd’s critique of shattered American dreams connects to a bleak reality many of us have glimpsed.

Rating: ««½ 

Buried Child,” by Sam Shepard
Directed by Steve Scott
Featuring ensemble members Allison Batty, Maury Cooper, and Linda Reiter
May 14 – July 12, 2009
Tickets $20-$35

 

Additional reviews:

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Chicago Theater Openings this week

 Chicago Buckingham Fountain

 

ADULTS Chemically Imbalanced Theater

BURIED CHILD Shattered Globe Theatre

EIFMAN BALLET OF ST. PETERSBURGAuditorium Theatre

LEGALLY BLONDE THE MUSICAL Ford Center for the Performing Arts/Oriental Theatre

MEASURE FOR MEASUREPromethean Theatre Ensemble

ON AN AVERAGE DAY BackStage Theatre Company

OWEN WINGRAVEChicago Opera Theater

THE PIANO LESSON Court Theatre

TOMMYCircle Theatre

THE WALLS Rivendell Theatre Ensemble

 

For special ticket offers, click on “Read more”

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