Review: 6th Annual Chaos Festival (Point of Contention)

  
  

Where ten writers write ten plays actualized by ten directors

  
  

chaos festival 6th annual poster big

  
Point of Contention Theatre presents
  
The Sixth Annual Chaos Festival
  
at Lincoln Square Theatre, 4754 N. Leavitt (map) 
through April 6  | 
tickets: $15  | more info

Reviewed by Katy Walsh

Lovers, killers, single-cell organisms, survival is dependent on embracing the chaos.  Point of Contention Theatre Company presents The Sixth Annual Chaos Festival. Ten writers wrote ten plays actualized by ten directors.  The cluster of ten minute shows is a showcase sampling of new work.  It’s something for everyone on the all-you-can-eat-buffet.  The morsel nibbling allows for tasting a variety of a la carte offerings without getting stuck with a dissatisfying main entree.  For the curious palate, it’s a series of one bite wonders.  If it’s sweet, there is the next daily special by the actors, writer, or director to crave. If the recipe is bland, a future spicier version could bring out the flavor.

Second Helping, Please 

Three of the shows were unique, lip-smacking, gourmet surprises.  Minutiae written by Barry Eitel, is an evolutionary exploration of scientific wit.  Under the direction of Rachel Staelens, Nicci Schumacher and Rafael Torres spar in a lively, rambunctious survival of relevance.  The Four Senses of Love written by Arthur M. Jolly is a hilarious coupling of two members of a sensory-deprived support group.  Under the direction of Brandon Boler, individually and collectively, Jonathan Helvey and Lisa Cordileone sarcastically work through their affliction with no senses.  Wet Work written by Jenny Seidelman is an intriguing, comedic encounter between two very opposite men.  Under the direction of Brandon Baisden, Ray Ready plays it perky, irritant to an established, smoldering Joshua Volkers.  The odd duo captivates to an unexpected conclusion.

Can’t Make Out the Taste, But I Like it

Two of the shows aroused with a lingering aftertaste. Jib and The Big Still written by Elizabeth Birkenmeir is a guy zoning out to avoid the chaos around him.  Under the direction of Michael Wagman, David Holcombe, Jaclyn Keough, and Warren Feagins effectively use extremes in physicality to contrast angst.  Quiet Killers, written by Kristen Palmer, is teenagers musing over death and human instinct.  Under the direction of Brea Hayes, Drew Anderson, Natalie Nassar, and Eric Ryan Swanson are over-the-top morose.  It’s how the goth-set does funerals.

Had It Before, It’s Enjoyable

Three of the shows have the familiar homestyle goodness of leftovers.  The Narcoleptic Pillow Fight written by Alex Dremann is a couple fighting through bouts of hysterical, empathetic or selective narcoleptic episodes.  Under the direction of Allyson B. Baisden, Megan E. Brown and Andy Cameron heighten the amusing buffoonery of ‘narking out’.  The Rollercoaster of Love written by Joe Musso and A Play or Something Like That written by McCarry Reynolds are two delicious potato salads at the same picnic!  It’s actors playing actors working a relationship scene.  Both are interesting miniCircle Mirror Transformationbut not everybody eats potato salad.

Pass the Salt 

The final two shows are a little too bland to make it to the big meal.  A Portrait of The Artist as a Middle Age Woman written by Jerry Lieblich is a mid-life crisis without the crisis. It needs a dash of Charlie Sheen antics to make it more potent.  A fictional Latin lover (Ben Johnson or Jeff Taylor, no headshot, identify unknown) overpowers with his humorous take.  He’s hilarious but it’s like putting ketchup on eggs… all you taste is ketchup!   White Cotton written by Craig Jessen flirts with infidelity as an engaged man visits his ex-girlfriend.  The love triangle doesn’t have quite enough foreplay to make the audience care about who has the long-lasting orgasm. 

The Sixth Annual Chaos Festival is a savory smorgasbord offering. With ten opportunities to curb your theatrical craving, your hunger will be satisfied. Bon Appetite!

  
  
Rating: ★★★
  
  

chaos festival 6th annual poster big

The Sixth Annual Chaos Festival plays through April 6th at the Lincoln Square Theatre (address), with all April performances at 8pm.  Tickets are $15, and can be purchased online or by calling 773-326-3631. Running time: Two hours, which includes a ten minute intermission.

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Review: Apocalypso (Point of Contention Theatre)

Fractured tales of Armageddon

 

Apocalypso - Point of Contention Theatre

   
Point of Contention Theatre presents
   
Apocalyso
   
Written by William Donnelly
Directed by
Timothy Bambara
at Heartland Studio, 7016 N. Glenwood (map)
through October 2nd   |  tickets: $10-$15   |  more info

Reviewed by K.D. Hopkins

It must be getting close to another pivotal prediction time in the history of humankind. Apocalypso is rife with hints of New Age philosophy, 20-something aimlessness, and Generation X hitting the wall. Yes, 2012 looms and there is hair in the Cocoa Puffs. I would not quite call this play by William Donnelly a comedy as it is billed. There are some funny lines but this is more of a post-millennial musing of the Absurd.

The Point of Contention Theatre Company is known for breakneck dialogue, seamless direction, and quirky expressionistic takes on reality. I have to say that Apocalypso doesn’t quite nail the mark as well as past works like The Wonder (our review ★★★½) or Vanishing Points. (our review ★★★)

To be clear, there are some fine performances in this play, but the action and the narrative don’t flow that well. Apocalypso is set during the holiday season between Christmas and New Years’ Eve in small town America. We are introduced to a washed up school janitor named Gus, getting hammered with a newly divorced Boone. Mike Rice and Zach Livingston play the roles respectively. They make fine work of portraying guys on a cheap beer bender in the Upper Peninsula. Gus stokes his drinking buddy with misogynistic remarks and manly feats of dog care while stealing none too bright Boone’s wallet. Catherina Kusch as Sherry the bartender is a standout. Kusch plays the part of a woman who accepts anything rather than being alone with a weary dignity and touch of fierceness. In the midst of the holiday binge, a derelict-looking woman appears, speaks of a message, then disappears.

Boone (Livingston) wakes up in the apartment of his friend Walt, played by Jared Nell. Mr. Livingston has a fine grasp of the broad comedy strokes of the sofa-surfing Boone who – wearing only boots, underwear and a torn bathrobe – is a site. Calling Oscar Madison!  Mr. Nell’s Walt is the unfortunate consumer of the hirsute breakfast cereal. Walt appears to be a pushover and if it quacks like a duck….you know the rest.

Into this fracas is thrown the characters of Boone’s manipulative ex-wife Gin (Heather Brodie), her ever accommodating sister Cal (Megan E. Brown), and her secretive husband Dwight, played by Tony Kaehny. I was left wondering how this could be called a comedy at all after watching the painful scene between the sisters Gin and Cal.

Gin cannot let go of Boone and calls him at ridiculous hours to request random objects like CD’s or small appliances. The sight of Walt sitting in a car holding a circa-70’s blender should have elicited a bigger laugh in my opinion. The humor was tempered by the looming angst that hangs in every scene of Apocalypso.  I should want to care about these characters but I cannot. They are so self-involved and oblivious to the meaning behind all of their existential spouting that I was hoping for an Armageddon full of endless Calypso dancing. In fact, the only character that brought levity and honesty to the play was Dora, played by Jennifer Betancourt. She appears like a vision to each character, speaking her message with evangelical zeal. Betancourt is wonderful as the possibly delusional Dora. She claims to be from the Council of Fate and Determination, sent to tell the world of the end times. Dora is darkly funny, as we all have seen someone like her on the train or a downtown street corner preaching in a filthy parka. The humor is this: perhaps they are right. They grasp onto just enough kernels of truth to make one wonder ‘what if?’ and then shake it off, inferring insanity on the messenger.

We discover that Dora is the sister of Walt and she warns him about the end of the world and the Cocoa Puffs. Walt explains that Dora is off of her meds and thought that she was indeed the Lamb of God as a child. Dora manages to inject honesty into these character’s lives by calling things as they are in the midst of listening to their mewling half steps toward honesty.

These people do not treat each other well, and normally that works as a dramatic device to push the action forward. In Apocalypso, the human cruelty just stalls the flow of the play. The marriage of Cal and Dwight is played like a soap opera with a plot of philandering and regret. By the time Cal is awakened by Dora and calls Dwight on his BS the only humor is found in an expletive and a demand for tea.

I have to say that I found Donnelly’s dialogue and theme oddly reminiscent of the novel “Nine Kinds of Naked” by Tony Vigorito. There is talk of tornadoes, allusions to synchronicity, and being reborn naked after the Rapture. Perhaps it is homage; perhaps it is a coincidence that I will allow as synchronicity.

The production’s performances are quite good. It is a disappointment, then, that the direction seems to pace the scenes in a fractured manner. Sometimes comedy is serious and sometimes it calls for broad strokes to elicit a knowing chuckle. This is a bit too serious where the material could be mined for more self-recognition. There should be at least a conga line.

   
  
Rating: ★★½
  
    

 Apocalypso runs through October 2nd at the Boho Theatre @ Heartland Studio. Times are Thursday through Saturday at 8:00pm and Sundays at 2:00pm. Contact www.pointofcontention.org for more information and tickets.

     
     

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Review: Point of Contention’s “The Wonder: A Woman Keeps a Secret”

Hilarity Truly Ensues in Point of Contention’s

“The Wonder: a Woman Keeps a Secret”

Point_of_Contention_The-Wonder

Point of Contention Theatre presents:

The Wonder: A Woman Keeps A Secret

by Susanna Centlivre
Directed by Margo Gray
Running thru August 26th (buy tickets)
Location: BoHo Theatre at Heartland Studio (map)

Review by Paige Listerud

This is what Chicago’s theater scene is all about: around a corner, in a little space one could easily pass by, a small theater company is doing great things. Director Margo Gray has assembled a lively and gifted cast for Point of Contention’s production of The Wonder: a Woman Keeps a Secret. This 18th century play by Susanna Centlivre, considered second only to Aphra Behn in her time, receives light and fast modern flare, while staying true to its ribald, audacious, and feminist origins. Step into that little black box–an evening of 295 year-old fun awaits you.

Set in colonial Brazil, the clever and virtuous Violante (Megan Faye Schutt) hides the daring Isabella (Lisa Siciliano) who has escaped from her father, Don Lopez (Jeff McLane), to keep from being married against her will for money and station. Trouble is, Violante is also in love with Isabella’s brother, Don Felix (Jason Nykiel). Every attempt to keep Isabella’s secret and help her on to true love puts Violante’s relationship with Don Felix in jeopardy. Her intrigues on Isabella’s behalf spark Don Felix’s suspicions, manly pride, and jealousy, and could ruin her own chances at happiness.

Of course, even given all the intrigues and mishaps between principle players, the bawdiest comedy comes from the servants; each player cast in these roles invests them with vigor, relish, and imagination. Ready for a three-way? Don Felix’s servant Lissardo (Justin Warren) certainly is–and attempts to negotiate between his dalliances with Isabella’s maid, Inis (Morgan Manasa) and Voilante’s maid, Flora (Hayley L. Rice). Warren skillfully wrings laughs out of every situation. Of course, he’s lucky; he has lines like, “Methinks I have a hankering kindness after the slut.” Drunken carousing with the Scotsman Gibby (Eric S. Prahl), servant to smooth Colonel Britton (Sean Patrick Ward), is a surefire way to pass the time while the girls’ tempers cool down.

Jeff McLane’s anxiety-ridden and compulsive Don Lopez is nothing short of hilarious. Point of Contention may want to put a ball and chain on him to keep him from getting away. Morgan Manasa does quadruple duty bringing bright, distinctive comic turns to each role she plays. Rice’s Flora is the perfect hearty, buxom foil to Schutt’s vivacious, intelligent Violante. The feminist moments of the play are enjoyable because the expressions of loyalty and boldness between women occur naturally within the context of the women’s choices.

As for the guys, where did POC find these smart, good-looking men—I mean, actors? Seriously, it’s impressive to see a work like this taken on and cast so evenly. Brett Lee’s Frederick is such a solidly good guy that one’s heart breaks in the end when he’s the only character who isn’t hooked up with anyone. Is it too late for a rewrite?

One soft spot remains, which could be worked out in the course of the run. In the second act, a relatively long scene between the two principle lovers, Don Lopez and Violante, shifts from romantic quarrel to reconciliation to comedic free-for-all over Felix’s reawakened suspicions. Schutt and Nykiel have not quite mastered the transitions between romantic moment and farce, which would be an essential skill for any 18th-century leading comic actor.

Special nods go to set design (Amanda Bobbitt and Allyson Baisden), lighting design (Brandon Boler), and costumes (Carrie Harden). This company follows the principle of doing a lot with a little. The ability to suggest colonial Brazil with precise touches and avoid drowning the cast in stuffy frippery must be commended.

Rating: «««½