Review: Arms and the Man (ShawChicago)

     
     

A well-acted, comedic pretend!

     
     

Arms and the Man - poster

  
ShawChicago presents
  
Arms and the Man
  
Written by George Bernard Shaw
Directed by
Robert Scogin
at DCA Studio Theatre, 78 E. Washington (map)
through May 15  |  tickets: $10-$22  |  more info

Reviewed by Katy Walsh

A young girl is enchanted by war.  Her plan for survival is to close her eyes and cover her ears.  When the enemy advances through her window, she must rethink her strategy.  ShawChicago presents Arms and the Man by George Bernard Shaw.  In a Bulgarian village, the Petkoffs are treated like royalty.  They have wealth, servants and a library.  Their pampered lives have them glossing over the bad stuff… even war!  The arrival of a tattered soldier into their home changes everything.  At first, the armed man is a harbored rebel.  When he returns to the house, he’s a dark, secret indiscretion for mother and daughter and an honored guest to father and fiance.  Who is the chocolate cream soldier really?  Arms and the Man is a witty make-love-not-war farce.

As is the ShawChicago tradition, Arms and the Man is billed technically as a staged reading.  A staged reading has no costumes, no sets and no physical movement.  And actors read from the script and don’t interact with each other. As often is the case at ShawChicago, Arms and the Man falls closer to ‘play‘ than ‘staged reading.‘  Under the direction of Robert Scogin, the talented ensemble use vocal stylings, facial expressions and limited gestures for powerful impact.  With ‘noble attitude and thrilling voice,‘ both Jhenai Mootz (Raina) and Ian Novak (Sergius) are hysterical exaggerated versions of the upper-crust.  Shiny-eyed optimist, Mootz charms with her amusing grandiosity.  Staying within his small designated space, Novak throws s a magnificent red-faced, body convulsing tantrum.  Kate Young (Catherine) is animated with elegant sophistication and natural animosity.  When her husband muses that ‘Raina always happens at the right moment,‘ Young zings the one liner with a droll ‘yes, she listens for it.’  Christian Gray (Bluntschli) ends the show in tears.  Gray is beautifully swept up in the romantic moment and weeps.

It’s Gray’s and the others’ level of character interpretation that pushes Arms and the Man away from ‘staged reading’ and up the spectrum to ‘play.‘  The entire cast performs magic.  Sure, in the beginning, it’s a bare stage with music stands holding scripts.  But as the actors connect on an in-depth level with the audience, theatrical imagination produces the window, the bed, the chocolate creams.  The charade constructs the majestic house on the hill.  You see it because the actors feel it.  Arms and the Man is well-acted, comedic pretend!   

  
  
Rating: ★★★
  
  

George Bernard Shaw writing

ShawChicago’s Arms and the Man continues at the DCA Studio Theatre, 77 E. Washington, through May 15th, with performances Saturdays and Sundays at 2pm; Mondays at 7pm.  Running Time:  One hour and fifty minutes includes a fifteen minute intermission. Tickets are $10-$22, and can be purchased online or at the door.

  
  

REVIEW: Candida (ShawChicago)

 

Shaw explores love by choice rather than passion

 

shawchicago logo

    
ShawChicago presents
    
Candida
  
Written by George Bernard Shaw
Directed by
Robert Scogin
at
Ruth Page Theater, 1016 N. Dearborn (map)
through November 8  |  tickets: $10-$22   |  more info

Reviewed by Katy Walsh 

Everyone loves the Morells but nobody wants to talk about it! ShawChicago presents Candida, George Bernard Shaw’s play about love in and outside the marriage. In 1894 London, Reverend James Morell is in demand on the lecture circuit. His social reform stance has made him a celebrity. His idolizing fans place him on a pedestal. The Reverend enjoys the adoration of his followers including his favorite admirer, Candida –his wife. Life for the Reverend is worship as usual until a young man declares his own love for Candida. Not just that, the young man proposes he’s better suited for her because he’s totally focused on HER happiness. Over a hundred years later, Shaw’s deconstruction of love is timeless humor. In the formalized culture of the time period, love is and isn’t discussed with apologies and controlled emotion. Shaw scrutinizes a marriage to a husband, who has a healthy sense of self. When one confession leads to another, love happens. Candida is a humorous debate of the meaning of love without feelings.

George_bernard_shaw As is ShawChicago’s style, Candida is performed as a staged reading. No sets. No costumes. Under the direction of Robert Scogin, it’s all about Shaw’s words interpreted by a talented cast. Matt Penn (Morell) has controlled intensity as the Reverend. His bursts of rage are a surprising contrast to his confident public self. The target of the anger, Christian Gray (Eugene) plays the young confessor of love with nervous energy and a hint of evil intent. Gray provides a complex version of the love opponent with poetic horrors. Barbara Zahora (Candida) is coarsed-grain. She lives in her husband’s world but maintains her own identity. Zahora charms with a strong sensibility. Lydia Berger (Garnett) is hysterical as the uptight typist. A victim of a secret love, Berger is sharp-tongued with delicious bitterness.

Jack Hickey (Mr. Burgess) assesses the ‘madness’ around him with humor and a strong working class English accent. Sparring with Berger, Kaelen Strouse (Lexy) is also crushing on the Reverend with a sweet devotion. This cast magnificently flirts with all the aspects of unrequited love.

Undoubtedly, Candida shocked the turn-of-the-century audiences. Today, it still surprises for its ageless topic, love. In 2010, love is expressed with emotion. Uncontrollable passion drives people together and apart. It’s not so much a decision to love, as the fated outcome of animalistic urges. Perhaps we should all channel our inner Shaw for lively intellectual debates on love before going heels over head.

Critics, like other people, see what they look for, not what is actually before them. –George Bernard Shaw

   
   
Rating: ★★★
    
   

Running Time: Two hours includes a fifteen minute intermission

   
   

REVIEW: Doctor’s Dilemma (ShawChicago)

A timeless treatise on today’s healthcare debate?

 

doctors-dilemma

 
ShawChicago presents
 
Doctor’s Dilemma
 
Written by George Bernard Shaw
directed by Robert Scogin
DCA Studio Theatre, 78 E. Washington (map)
thru May 10th  |  tickets: $10-$22  | more info 

By Katy Walsh

Who to save? If allotted only enough serum to cure one patient, how to choose who is worthy of it? ShawChicago, in conjunction with DCA Studio Theatre in the Cultural Center, presents Doctor’s Dilemma. Illustrating a lifelong disdain for the healing profession, George Bernard Shaw pens a comedy about doctors debating the sanctity of healthcare for a price. Under the enchantment of a pretty lady, four doctors struggle with the decision to save her charming husband or their bumbling colleague.

shawportrait Although Shaw first produced the play in 1906, his viewpoints are still prevalent one hundred years later. Economics still influences healthcare in adequate coverage for the poor and research interests of the wealthy. Doctor’s Dilemma illustrates the timeless issues of healthcare and arrogant doctors; ShawChicago injects a talented cast. The result is a robust tonic sure to cure any ailment.

In the ShawChicago tradition, the show is a public reading. No costumes. No scenery. It’s just Shaw, Scogin and the ensemble. Under the direction of Robert Scogin, the entire cast adds their own version of razzle-dazzle. The doctors are a variety of superior condescension. Jack Hickey (Sir Ralph Bloomfield Bonington) is hilarious as the know-it-all physician with one basic prescription, “stimulate the phagocytes.” Hickey is riotous rambling his lunatic theories then stopping abruptly to utter “I’ve lost the thread of my conversation.” Will Clinger (Cutler Walpole) is in turn outrageous with his repeated diagnosis of ‘blood poisoning’ and his declaration that he is, “not a doctor. I’m a surgeon.” Skip Lundby (Sir Patrick Cullen) is the delightful retired doctor who starts an argument with, “when you’ve killed as many people as I have…” Matt Pen (Sir Colenso Ridgeon) is the smug bachelor with the God complex. The patient is Christian Gray (Louis Dubedat). Gray is the fast-talking scoundrel and the arrogant match for the doctors. In his immorality justification, Gray argues that lawyers threaten prison, parsons threaten damnation and doctors threaten death. Gray is deliciously unapologetic for his rogue ways. Barbara Zahora (Jennifer Dubedat) is the loyal wife and object of the doctors’ affections as she pleads for healthcare for her husband. In smaller roles but with superior accents, Mary Michell (Emmy) and Kaelan Strouse (Newspaper Man/Mr. Darby) are outstanding.

Sixteen years ago, ShawChicago started its artistic initiative with Doctor’s Dilemma in the DCA Studio Theatre in the Cultural Center. Back then, it was Clinton and healthcare. Now, it’s Obama and healthcare. But then and now and since 1906, Doctor’s Dilemma is a Shaw timeless classic.

 
 
Rating: ★★★
 
 

Extra Credit:

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

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REVIEW: The Philanderer (ShawChicago)

A no-frills sophisticated comedy

 shawlogo

ShawChicago presents:

The Philanderer

Written by George Bernard Shaw
Directed by
Robert Scogin
Ruth Page Theatre (1016 N. Dearborn)
Thru March 1st (more info)

By Katy Walsh

Leonard wants to marry Grace as a way to finally break-up with Julia. Although this sounds like the plot of the next Hugh Grant romantic comedy, it’s not. ShawChicago presents The Philanderer, a play written by George Bernard Shaw in 1893. Unlike many contemporary movies, The Philanderer is a sophisticated comedy with many layers of humor. On one level, the love affairs are discussed with polite sensibilities. Whether it’s the prudish time period or British formality, love is an unemotional state. Another dimension of absurdity is the Ibsen Club. Most of Shaw’s characters are members of this new-age association requiring members to denounce being a “womanly woman” or “manly man” to generate true equality of the sexes. The club’s premise must have been shockingly hilarious at the turn of the century. Even in modern times, it’s still funny. Encouraged by the young men, women are smoking and drinking in the “old boys club” and it’s freaking their fathers out.

With the tradition of producing shows more like readings, ShawChicago stages The Philanderer without scenery, costumes or other design elements, thus relying heavily on the talents of its playwright and its cast to stimulate the audience. And this talented cast delivers, providing brilliant dialogue with British wit.

Lydia Berger is outstanding as Julia Craven. Berger scores the emotional character and plays it out to the maximum. Very much a “womanly woman”, Julia’s club membership is threatened by her tendency to resort to crying to manipulate men. Berger is hilarious in her struggle to be less womanly. Kevin Christopher Fox is the philanderer, Leonard Charteris. Fox amuses as the nonchalant playboy. Without any hint of self deprecation, Fox states he’s not gallant, handsome or well-dressed. In a very matter of fact manner, Fox takes no responsibility regarding why women keep falling in love with him. Making a smaller role memorable, Richard Marlatt has a ludicrous melt-down as the bumbling physician, Dr. Paramore. Even though the show is auditory, as Col. Craven, Skip Lundby looks very natural saying words like “vexed” and “confounded.” Despite the presence of the script, most of the cast have memorized their lines. On occasion, when an actor resorts to actually reading, there is stammering.

Throughout, ShawChicago showcases its namesake George Bernard Shaw with The PhilandererWithout the distraction of movement on a stark stage, Shaw’s words are the focus. With clever twists and entertaining banter, Shaw wittingly promotes his social agendas of the time period still relevant a century later: feminism, casual sex, animal testing, medical research, and vegetarianism.

CRAVEN: … How jolly it must be to be able to go to the theatre for nothing! I must ask him to get me a few tickets occasionally. But isn’t it ridiculous for a man to talk like that! I’m hanged if he doesn’t take what he sees on the stage quite seriously.

CHARTERIS: Of course: that’s why he’s a good critic. Besides, if you take people seriously off the stage, why shouldn’t you take them seriously on it, where they’re under some sort of decent restraint?      *Act I: The Philanderer

 

Rating: ★★★

Review: ShawChicago’s “Votes for Women!”

We’ve come a long way, baby

 shawchicago-logo

ShawChicago presents:

Votes for Women!

by Elizabeth Robins
directed by Robert Scogin
thru November 9, 2009 (buy tickets)

Reviewed by Katy Walsh

Inadequate health care coverage, conservatives versus liberals, rumors of a politician’s past sexual indiscretion? No, Votes for Women! isn’t the story of Hillary Clinton’s rise to power. In fact, actress and playwright Elizabeth Robins wrote the work over a hundred years ago. Set in England in 1907, Votes for Women is about a naïve heiress introduced to the Suffragettes’ movement by the former lover of her political fiancé. ShawChicago’s production is a 100-year anniversary replication of Votes for Women! being introduced to Chicago.

Before the show even commences, the lack of scenery on stage is a bit perplexing. Chairs, music stands, and bottles of water suggest a reading – not a play.

Initially, the authenticity to the time period is appreciated. Later, after a series of monologues, a craving for visual stimulation and modern-day editing defeat any nostalgic notions. Distractive music and pounding offstage vie for attention during particularly long lectures. The stellar cast tries to overcome the lack of action with facial expressions and limited gesturing. Joseph Bowen (narrator/various voices) is fascinating playing characters with a variety of accents. In Act II, the juxtaposition between Suffragette’s speeches was intriguing. Melinda Moonahan (Working Woman) uses a lower class dialect bluntness to rally support. Lydia Berger (Ernestine Blunt) addresses with an educated and amplified oration. And Suzanne Lang (Vida Levering) delivers a personal and passionate plea. As the heiress, Barbara Zahora’s (Jean Dunbarton) love struck innocence engages compassion for the “poor little rich girl.”

Ironically, throughout the performance, one is torn between “we’ve come a long way baby” and “we got the vote, so what?” Yes, women can vote, own property, and run for President. On the other hand, the harsh and superior judgment of single mothers, welfare recipients and average-looking women continues to be prevalent. Regardless, however, Votes for Women is an important illustration of the evolution of thought regarding women’s rights. Hopefully by the 200th-anniversary production, women will have secured equality to men and each other.

 

Rating: ««

 

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