REVIEW: The Love of the Nightingale (Red Tape Theatre)

This eerie ‘Nightingale’ sings a refreshingly resonant tune

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Red Tape Theatre presents
  
The Love of the Nightingale
  
by Timberlake Wertenbaker
directed by
James Palmer
at St. Peter’s Episcopal Church, 621 W. Belmont
(map)
through May 29th  |  tickets: $25  |  more info

reviewed by Barry Eitel

I’m not going to lie, my expectations weren’t so high when I entered the space for Red Tape Theatre’s newest production, The Love of the Nightingale by Timberlake Wertenbaker. The last (and admittedly, only) show I saw by them, last season’s Enemy of the People (our review ★½), was pretty weak. That said, I was completely blown away. Directed by Artistic Director James Palmer, Red Tape’s Love of the Nightingale was refreshing, bizarre, and remarkably resonant.

REDTAPE THEATRE - Photo 2 Nightingale explores the ancient Greek myth of Philomele who, as all those mythology buffs out there will tell you, was transformed into a nightingale after some pretty traumatic experiences. And given that it’s written by Wertenbaker, you can bet the whole story is given a feminist twist. Palmer and his enormous cast explode the story into life, ripping it from its ancient Greek context and filling it with anachronism and theatricality. Set designer William Anderson builds a completely new space within the heart of the gym in St. Peter’s Episcopal Church. The set is its own little world, encircling the audience and featuring plenty of hidden drawers, doors, and other surprises. Palmer’s production is intensely physical, demanding the actors throw all they got out on-stage, just a few inches from the audience.

The story tells of the relationship between Philomele (Meghan Reardon), her sister Procne (Kathleen Romond), and her brother-in-law and King of Thrace, Tereus (Vic May). For those unfamiliar with the Greek myth, Procne asks her husband, Tereus, to bring her little sister out to Thrace for a visit. He sails over to Athens to pick her up, but things get a little heated on the trip back. Through a brilliant choice, the play is shaped and revealed by an almost silent dollmaker/carpenter/puppetmaster (Robert Oakes), who seems compelled to tell this unsettling story to us.

The dream team of designers Palmer amassed has concocted a marvelous world. Ricky Lurie’s modern-dress costumes are stunning, reveling in the uncanny style Palmer has set out. The suits and dresses are bright and colorful, contrasting sharply with the terrifying depths the play plunges towards. Anderson’s set is simple enough REDTAPE THEATRE - Photo 2 to hold all of the different scenes required in the text, yet exudes its own bizarre essence. This is all pushed by Palmer, who moonlights as lighting designer, and his fetish for flickering fluorescents. The show is eerie and surreal, sometimes a dream and sometimes a nightmare.

Although the performances are at times outdone by the incredible design, there are some choice actors here. Romond’s tortured Procne is excellent; although the character doesn’t feature much in the original myth, here we’re entranced by her struggle. As Philomele, it takes Reardon a scene or two to hit her stride but she gets there, especially as the play gets heavier. May does great work as well, finding both Tereus’ sliminess and his royalty. For such a small stage, the cast is massive. However, they all fit the play extremely well, and everyone out there is required for the world to work as well as it does.

Much of the chorus is used in choreographed movement that surrounds the audience, trapping them into Philomele’s tragic tale. However, sometimes the movement pieces overstay their welcome and reach into repetitive territory, then our interest flags. The play calls for plenty of brutality, but Zack Meyer and Claire Yearman’s fight choreography doesn’t really hack it. It works well technically, but doesn’t have the piercing specificity the rest of the show has.

From their The Love of the Nightinggale, it is clear Red Tape has an aesthetic that works for them. Hopefully, they’ll expand and explore more of what made this play great. If Red Tape keeps churning out work like this, they’ll become a tiger of the storefront scene.

  
  
Rating: ★★★
 

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REVIEW: Here Where It’s Safe (Stage Left Theatre)

Exposes disturbing trend of foreign surrogate mothers

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Stage Left Theatre presents:

Here Where It’s Safe

 

Written by M.E.H. Lewis
Directed by
Scott Bishop
through April 3rd
(more info)

Review by Barry Eitel

Stage Left’s most recent offering, Here Where It’s Safe, definitely fits in with their declared purpose of exploring socio-political subjects. The new play sifts through an ethical quagmire that has international implications: the rising issue of barren couples paying foreign women to have children for them. M.E.H. Lewis focuses on Indian surrogates in Here Where it’s Safe, telling a very contemporary story about an American woman’s relationship with the young Indian girl that’s carrying her baby. It’s a massively relevant tale full of current statistics, figures, and headlines, but the social topics of the play overshadow the dramatic gravitas.

safe2 This is the last show Stage Left is doing in their long time space on Sheffield; they will be moving into the Theatre Wit complex for next season. They make a grand exit with scenic designer William Anderson’s gorgeous set. His design envelopes the space, placing us in a traditional Indian world with intricate motifs in metal and wood. Scenes travel thousands of miles and take us from America to India, and the set is open enough to allow all of the scenes to happen with short transitions. Complemented by Jessica Harpenau’s lights and Elizabeth Flauto’s colorful costumes, the production forms a fascinating world.

On the whole, the performances are pretty convincing, although sometimes there seems to be a disconnect among the ensemble. Cat Dean is Abigail, a woman ravaged by her failed attempts to have a child. Dean carries the show, but can also be a bit too stoic at times, which teeters on boring an audience. Her best work is when she is in the scenes with Mouzam Makkar, who plays Beena, the 19-year old girl Abigail is paying to have her baby. Makkar has the best performance in the production, capturing the youthful brattiness of a teenager combined with the emotional maturity of a wife and mother forced to make tough choices. She is a blank slate with the ability to project and withhold intentions and motivations from her scene partners and the audience. Occasionally, though, what drives her forward is hard to read even in the intimate space. Cory Krebsbach is goofy yet lovable as Abigail’s husband and Anita Chandwaney is excellent as Dr. Uma, Beena’s “boss” at the surrogate agency. safe1 The weak link in the cast is Kate Black as Abigail super-liberal friend Jem, who doesn’t seem to have much of a point besides providing a progressive worldview on the matter and saying “breeder” a lot. Supposedly Jem helps flesh out the ethical issues, but Black comes across as detached and uncaring.

I think the cutting of a couple of scenes would strengthen the play. As it is, Lewis’ script extends itself too far, having a lot of shorter scenes. They begin to feel extraneous after awhile. The plot and themes could be consolidated; the play could kick harder. It feels like Lewis was really excited to confront her audience with an issue that gets very little facetime in the media. However, the play that wraps it could be more coherent. The text evolves around themes, instead of a script giving birth to social, political, and economic questions. The characters all have their reasons, personalities, and the plot is logical, but the work as a whole seems more concerned with putting out a message than telling a compelling story.

I was never bored by the show, nor turned off by any of the more overt political discussions, and it does shed light on a little-known yet somewhat disturbing trend. Here Where it’s Safe could just be made a lot more powerful if it didn’t tangle itself in some vague opinions.

 

Rating: ★★½

 

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