REVIEW: Escape from the Haltsburg Boys Choir (Ruckus)

     
     

To get out, you’ll need to use ‘em…or lose ‘em

     
     

Escape from the Haltsburg Boys Choir - Ruckus Theatre. Photo by Lucas Gerald

   
The Ruckus Theater presents
   
Escape from the Haltsburg Boys Choir
   
Book/Lyrics by Aaron Dean
Music/Lyrics by
Jason Rico
Directed by
Daniel Caffrey
at
Side Project Theatre, 1439 W. Jarvis (map)
through Jan 30  |  tickets: $15-$20  |  more info

Reviewed by Katy Walsh

The Emperor requests a performance by the up and coming boys choir. The royal attention spearheads strategies to keep the vocal stylings intact. What wouldn’t a choirmaster do to cash in on his established prepubescent harmonies? (Imagine Michael Jackson’s dad in 18th century Austria.) The Ruckus presents the world-premiere musical Escape from the Haltsburg Boys Choir. Originally conceived as a fable based on the Vienna Boys Choir, The Ruckus moved the setting to the fictional town of Haltsburg after a cease-and-desist letter from the VBC. The story centers around the questionable recruitment and retention practices of a boys choir. Back in the day, star performers would retain their position by being castrated. To maintain the higher cherubic quality, it was off with his balls. Motivated by the threat of castration, four boys skip choir practice to flee captivity. Escape from the Haltsburg Boys Choir promotes the tagline ‘to get out, you’ll need to use ‘em…or lose ‘em.’

Jeffrey Fauver as choir director in 'Escape from the Haltsburg Boys Choir' - Ruckus Theater. Photo by Lucas GeraldThe Ruckus is staging its world-premiere musical at Side Project Theatre.  It’s a 35 seat theatre with a 13 member cast plus a 4-piece band off-stage. The ambitious undertaking is ballsy! Playwright Aaron Dean has written a fable that chronicles the fugitives’ interactions with a witch, a dragon, a talking rock and a dancing penis. In a small venue, it’s a lot to take in. The Medieval choir torture is an intriguing horrific tale in itself. The puppet pageantry and ancillary characters could be snipped to focus on the real action, though the superfluous pieces do add fantasy elements. But instead of an orgy for the senses, it’s gets clunky, confusing and ultimately unsatisfying – a pleasurable experience is all about one solid thing probed deeper (pun intended?).

Under the direction of Daniel Caffrey, the cast works energetically to escape disaster. The quartet of runaways crawl, croon and create an exit plan. Kate Black (Johanne) leads the singers with an enthusiastic chipper. Alyse Kittner (Nils) brings the sass as a rambunctious sidekick. Liz Goodson (Arthur) anchors the foursome as the stalwart quiet one. Heather Moats (Sebastian) endears as the timid lost boy. Megan Gotz (Victors) connives as the jealous wannabe soloist. These gals don’t need balls to hit the right melody. With the talented he-shes and a tighter script, Escape from the Haltsburg Boys Choir will take flight. Snip-snip! “It’s easy as A-B-C, 1-2-3…”

  
   
Rating:
   
   

Running Time: Two hours and thirty minutes with a fifteen minute intermission

One of the choirboys in 'Escape from the Haltsburg Boys Choir' at Ruckus Theater. Timo Aker as choir director in 'Escape from the Haltsburg Boys Choir' - Ruckus Theater. Photo by Lucas Gerald

Production photography by Lucas Gerald.

 

 

  
 

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REVIEW: Curse of the Starving Class (New Leaf Theatre)

New Leaf’s “curse” satisfies

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New Leaf Theatre presents
 
Curse of the Starving Class
 
By Sam Shepard
Directed by
Kyra Lewandowski
Lincoln Park Cultural Center, 2045 N. Lincoln Park W. (map)
thru May 22nd  |  tickets: $10-$18  | more info

reviewed by Barry Eitel

Sam Shepard’s best work always revolves around families. Some say that the American drama is family drama, and Shepherd definitely makes a strong case for this argument. His scathing True West, Pulitzer-winning Buried Child, and gritty A Lie of the Mind all focus on entangled, screwed-up families. Curse of the Starving Class, one of his other heralded “family tragedies,” is as blazing and cut-throat as the rural svclass2 California homestead it’s set in. It focuses on a family with standard structure—father, mother, son, and daughter—but with destructive tendencies. Transforming the Lincoln Park Cultural Center into the dilapidated familial residence, New Leaf does an excellent job capturing Shepherd’s gangster flick yet Aeschylean essence, although some moments are over-broiled and muddy.

The titular “curse” and the titular “starving class” are mentioned several times throughout the play, but neither is really explained at all. The drunken patriarch Weston (John Gray) describes a curse passed down for generations, from father to son, but doesn’t mention any details as to why their family is possessed or the consequences of this venom. The term is also thrown around in regards to the daughter’s first period, her entrance to adulthood. Shepherd is toying around with Classical ideas of fate, but with a horrifically modern twist: no one remembers what the curse is. The characters also have different opinions on the starving class, which is less of an economic distinction and more of a mental illness. The result is a titillating mixture of Aristotelian theory and post-modern sensibility, like if O’Neill wrote a B-movie.

The family, never given a last name, eke out an existence in a broken-down farmhouse; their front door smashed apart by Weston. We are privy to the kitchen area (they are the starving class, after all), and watch as each member contrastingly defile or rebuild the disgusting room. We see the idealistic son Wesley (Layne Manzer) urinate in the food prep area, yet later he attempts to replace the broken door. Ella (Victoria Gilbert), the matriarch, half-heartedly keeps order, and the much-maligned daughter Emma (Alyse Kittner) can’t stand the place. Weston, for all the destruction he causes, takes a shot at revitalizing the house in the final act. The world is ground-up and fallible; the characters attempt change, but can they escape their curse?

Kyra Lewandowski takes on this powerful script with gusto. Her staging is visceral, but sometimes misguided. A couple of very crucial moments take place in the eviscerated doorway, which is concealed from a good chunk of the audience. The production also adds some spooky shadow-work to push the play into a more abstract realm, but Shepherd’s grinding text doesn’t need it. Lewandowski’s expressionist choice distracts rather than adds, but it is fortunately rarely used. Michelle Lilly O’Brien’s set and Jared Moore’s lights fill the otherwise welcoming Lincoln Park Cultural Center with gloom and decay, providing the cast with one unappetizing kitchen.

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The cast finds connections with Shepherd’s sometimes cryptic characters, and the entire show breathes and broods. Manzer’s Wesley can be a bit too manic, but Manzer clearly knows Wesley’s vulnerabilities. Gilbert sits in the world the best, making Ella’s most bizarre moments feel natural and understandable. Against both of these powerful actors, Kittner scratches and scrambles, which works for Emma. Gray shines in the last act, but earlier he overplays the drunken stupor and comes off as ungrounded. As the land-grabbing lawyer, Kevin Gladish can’t really penetrate Shepherd’s realm, seeming wooden and unsure. This is difficult territory to conquer, however, and the cast steps up to the challenge and they are not afraid to tear right into it.

There is a lot of important information that is left unsaid in Curse, leaving the audience unsettled and probing in the dark. Lewandowski and her team understand this critical aspect—they know to close doors as they open windows. Minus a few failings, New Leaf Theatre has a self-destructive, nauseating success.

 
 
Rating: ★★★
 
 

 

 

 

 

 

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