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: Les Liaisons Dangereuses (Remy Bumppo)

Now we know why the French have their own kiss

 

liaison

 
Remy Bumppo presents:
 
Les Liaisons Dangereuses
 
by Christopher Hampton
based on novel by Pierre Choderlos De Laclos
directed by David Darlow
at The Greenhouse Theatre, 2257 N. Lincoln (map)
through May 2nd (more info | buy tickets)
 
review by Katy Walsh 

Before the inventions of texting, reality television and video games, people, at least the French Aristocrats, unleashed their passions with love letters, self-created drama and sexual conquests. Remy Bumppo presents Les Liaisons Dangereuses, an 18th century tale of love, lust and revenge. The Madame de Merteuil and the Le Vicomte de Valmont are lovers turned friends turned game players. Merteuil enlists Vicomte to seduce Cecile. Merteuil wants to disgrace Cecile’s betrothed who happens to be vert Mme Merteuil (Rebecca Spence)_Valmont (Nick Sandys) Merteuil’s former lover. Vicomte is currently wooing a married Madame de Tourvel for his own personal best in conquering a woman of moral integrity. Vicomte agrees to Merteuil’s side project because Cecile’s mother badmouthed him to Tourvel. As a reward, Merteuil agrees to have sex with Vicomte if he produces written proof of his affair with Tourvel. Let the games begin! But who’s playing who? Explaining why the French had a kiss named after them, Les Liaisons Dangereuses erupts with passionate trysts for a sexually charged escapade of entertainment.

The Hugh Hefner of the 18th century, Vicomte (Nick Sandys) is the original playboy. A charming and confident Sandys nails the part and the ladies with a tongue well versed for intercourse. Sandys glides through the lengthy discourse with witty elegance. With promises to “dominate your sex and avenge my own”, Merteuil (Rebecca Spence) is Vicomte’s opponent in games of lust and cruelty. Despite the missing years of bitter heartache, Spence’s facial expressions are deliciously diabolical serving up brutality with wide-eyed smiling innocence. Margaret Katch (Cecile) is perfect as a promiscuous teen in secret rebellion against her mother. David Darlow directs the cast through the dialogue heavy script at a quick pace with thoughtful pauses for dramatic climax.

horiz Mme Merteuil (Rebecca Spence)_Cecile (Margaret Katch) horiz Mme Tourvel (Linda Gillum)_Valmont (Nick Sandys)
horiz Emilie (Sienna Harris) and Valmont (Nick Sandys) vert2 Valmont (Nick Sandys)_Mme Merteuil (Rebecca Spence) liaison

Multiple scenes occur transporting the action from salon to bedroom in various locales. Alan Donahue cleverly reuses the furniture and paintings with modified positions to illustrate the vary of address. Chambermaids rotate a screen on rollers and a daybed effortlessly to make the scene transformations seamless. The costumes by Emily Waecker are exquisite for a visual history lesson on outer and under wear. Vicomte’s coats would be the envy of Liberace with their elaborate finery. Merteuil dons a multiple layer gray silk monstrosity that wouldn’t be figure flattering but still appealing for its classiness.

The award winning playwright Christopher Hampton penned a clever adaption of the up and downside of immorality. Actualizing his script, Remy Bumppo delivers multiple orgasmic moments in this production of Les Liaisons Dangereuses.

 
Rating: ★★★★
 

horiz Cecilie (Margaret Katch)_Valmont (Nick Sandys)

 

 

Extra Credit: Illustrated Field Guide (PDF)
As part of their “think theatre” mission, Remy Bumppo creates a production guide designed to enrich your theatre experience.  Hard copies of this field guide can be purchased for $5.00, and archived guides for previous seasons are available for $10.00.  To purchase a field guide, contact Stephanie Kulke via e-mail or at 773-244-8119.

Running Time: Two hours and forty-five minutes with intermission

           

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