Review: Chicago One-Minute Play Festival (Victory Gardens)

  
  

OMPF - One Minute Play Festival - Victory Gardens - banner

 

New Festival Showcases Short Works by Local Artists, Sampler-style

 

by Dan Jakes and Oliver Sava

This May 15-16, Victory Gardens premiered Chicago’s first One-Minute Play Festival (OMPF), a benefit event that featured bite-sized works by an eclectic mix of prominent and upcoming local theater artists. Creator and “curator” Dominic D’Andrea originally debuted the series in New York in 2007, where it has since grown to San Francisco and Los Angeles . For its first ever stop in the Midwest, considering the event’s magnitude–50 playwrights, 10 directors, and nearly 60 actors–this year’s showcase demonstrated promising potential for an exciting annual Chicago theater institution.

That is, if it finds a stronger footing. Micro-plays are nothing new, especially in the Windy City, long-time home to the Neo-Futurists’ Too Much Light and Second City; one set the bar for two-minute plays, and the other made one-joke flash bits a sketch trademark. D’Andrea and producer Will Rogers’ OMPF also rides off the larger 10-minute play trend. Their efforts to boil down theater even further, though, prove to be fruitful–sometimes even enlightening. Below is a list of the night’s highlights.

Paper Airplane, Aaron Carter  

     
   The finest piece in the festival. A young boy expresses his anguish over his father’s looming death while tossing folded paper planes across the stage. His ability to speak is limited to the papers’ flight, leaving him choked and frustrated with each audible crash landing. In less than a minute, Carter encapsulates the panic of grief, and animates the cruel handicap children endure to express pain. Those planes approached visual poetry.

Two Vegans, Robert Tenges

     
   A couple engaged in love making–some of it hilariously acrobatic–get their kink on by dirty-talking their favorite (or to cool things off, least favorite: (“raw kale…raw kale!”) foods. At first, it’s funny nonsense. Then, after you uncomfortably internalize your own link between taste/sexual satisfaction, it’s hysterical.

A Play, Kristoffer Diaz

     
   You’re the hero in this monologue. The audience member to your right is the protagonist. Your left, the antagonist. Diaz’s simple, straight-forward instructions don’t feel like a gimmick. His inconclusive end ponders some sophisticated ideas about the broader implications of storytelling, ones that resonate long after the play’s 60 seconds are up.

The Last Walk, Lisa Dillman

     
   Sad pets are an easy go-to for emotional impact…but that doesn’t make using them any less effective. A dog reminisces about the good days with her very recently deceased owner. Confused, she brushes up against his dead body for affection…and if you don’t cry a little at the thought of that, then you’re a monster. Only a few high-pitched “aw’s” were heard in the house during an otherwise hushed fade-to-black.

Inequity, Jake Minton

     
   Penis envy comes early for two little boys (played by full-grown adults, of course) in a school bathroom: One stands proud, pants down and bare-butted at a urinal, while the other sits devastated, hiding his…well, you know. Minton makes a nice little joke about men’s biggest insecurity.

Haiku Fight, Caitlin Montanye Parrish

     
   A couple hashes out an argument by having a refereed 8 Mile-style slam, with Japanese poetry filling in for hip-hop. It’s a simple, wonderfully clever juxtaposition of the writing form’s serenity versus the needling aggravation of a relationship fight.

This Just In, Stephen Louis Grush

     
  Liberal sensibilities about prejudice get turned over on their heads when one easily dismissible stereotype gets paired with one that’s equally unfair, but–for many viewers–may hit a little closer to home. Those might sound like the makings for a didactic issues play. With the right amounts of humor and levity here, they aren’t.

Bag Thief, Laura Jacqmin

     
   A mix-up at an airport luggage carousel leads to suspicion and accusations. Jacqmin doesn’t quite know how to end her play–what she settles for lets the air out of its balloon and betrays her otherwise solid work. Up until the final seconds, though, it’s fun stuff watching two men calmly navigate each other’s logic and contemplate one another’s mind games.

Blackout, Chisa Hutchinson

      
   As the name suggests, Hutchinson’s play takes place with the house and stage lights off. Her monologue discusses nyctophobia (fear of darkness) in friendly, clinical terms. Once she starts in about the ghastly things you could be imagining, it’s hard not to nervously giggle and realize you’re an adult who’s once again–briefly–afraid of the dark.

In Not Our Finest Hour, Andrew Hinderaker

     
   You can spot a gag coming within the first few seconds of this context-free comedy. A line of actors take a swig from a water bottle and pass it on. Anticipation builds; titters slip. The fact that the punch line is exactly what you’d expect compounds the simple humor in this satisfying, straightforward piece.

Wisconsin, Andrew Hinderaker 

     
   Anyone who’s experienced the unique isolation of a rural Midwest winter can attest to the truth and melancholy spoken in this eloquent monologue. A young man describes a blackened hand rising out of the snow. Hinderaker’s vivid image is striking on conflicting levels–it’s unsettling, somber, and in its own way, serene.

Free, Zayd Dohrn

     
   A United States Marine quietly bemoans the chaos of modern war and rejects America’s authoritative façade. His speech is upsetting for all the obvious reasons, and for some less common: notably, the futility of humanitarian efforts and the false hope instilled by the military’s hierarchy.

A Short Story, Emily Schwartz 

     
   A narrator gives up on his own story, much to the protagonist’s chagrin. Schwartz’s non-story leaves the nameless hero waiting and frustrated as the nonchalant storyteller signs off on her would-be adventure. Smart, funny metatheater.

Love Play for Two Chairs, Seth Bockley 

     
   When you think about chairs having sex (though in any other context, why would you?) the word “whimsical” probably doesn’t come to mind. And yet, like an x-rated Fantasia, Bockley and director Jeffrey Stanton achieve just that. Annoyed by the noise of his enchanted furniture getting it on, an apartment owner sets out to end his two chairs’ tryst. His solution is delightfully absurd–the fact that it’s irresistibly adorable makes matters even stranger.

Unsolicited Advice for Next Year’s Fest

Now that the One-Minute Play Festival has taken its first entertaining, successful baby steps in Chicago, here’s what we at we’d would like to see from the show in its future incarnations…

A Greater Assortment of Styles:

Only a few plays in 2011 were noteworthy for really bucking traditional conventions. The message in Gloria Bond Clunie’s Falling about resilience in the face of natural disasters, for instance, wasn’t particularly moving or inspired, but her play stood out from its peers for its striking use of projections and puppetry. That left us with a question: How can the other works of 50 unique artists have looked so homogeneous? Talking animals, inner-monologues, contentless scenes and gripes about public transit bore the brunt of too many shows. No movement pieces? No one-minute musicals? Festival organizers take pride in the lack of dictated thematic guidelines for the playwrights (as they should). Still, there has to be a way to commission a more diverse body of work.

Super-titles:

Many of the short plays benefited from having the names of the shows known; some even took on new light. Dimmed houselights and tiny program font made seeing them impractical–unless you were really straining, you had to do without. An inexpensive or creative way to integrate the show names could further enrich the work.

Clear Intent Behind Curation:

Was there or was there not an intended arc to the evening? We couldn’t tell. Directors took on about 10 plays each, and their pieces were presented together in ten unique “clumps.” The order that clumps were presented in and the plays within them, though, did not have an obvious flow. Perhaps one wasn’t intended–regardless, having one might keep the night as a whole engaging.


The Chicago One-Minute Play Festival is produced as a benefit for Victory Gardens Fresh Squeezed, their alternative programming and audience engagement initiative. With a shared mission, both Fresh Squeezed and the festival aim to represent a wide and diverse range of playwrights, actors, and directors working in the great city of Chicago.

Reviewers: Dan Jakes and Oliver Sava

     
     

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REVIEW: State of the Union (Strawdog Theatre)

 

An intriguing political chess game

 

 Strawdog Theatre - State of the Union - 10/6/10 

Photo by Chris Ocken 
Copyright 2010 - www.ockenphotography.com

   
Strawdog Theatre presents
   
State of the Union
   
Written by Russel Crouse and Howard Lindsay
Directed by
Geoff Button
at Strawdog Theatre, 3829 N. Broadway (map)
through November 13  |  tickets: $15-$20  |  more info

Reviewed by Keith Ecker 

For a political play to matter much, it must prove its relevance beyond its genesis. These dramas must rise above the particulars of their time-sensitive plots and reveal to us a greater truth, something about the human condition or the faults of our society. State of the Union, the 1946 Pulitzer Prize-winning comedy, is an example of this brilliant kind of evergreen political theatre.

Written by Russel Crouse and Howard Lindsay, the play may be rooted in mid-20th century politics, but its tale of political gaming and pandering is as true today as it ever was then. And infused with the talent of the Strawdog Theatre Company, State of the Union manages to not only serve as editorial but as a charmingly funny piece of theatre.

Strawdog Theatre - State of the Union - 10/6/10 

Photo by Chris Ocken 
Copyright 2010 - www.ockenphotography.com The play centers around political outsider and businessman Grant Matthews (Michael Dailey). Republican political insiders are priming him to be the dark horse candidate in the upcoming presidential election. This includes Kay Thorndyke (Kristina Johnson), a Republican newspaper editor and not-so-secret mistress to Matthews.

Yet, Matthews gives the political bigwigs reason for hesitation when he hits the speaker circuit where he talks about timely issues from his heart rather than from any party’s platform. Much of this honesty is delivered at the behest of his wife, Mary (Kendra Thulin), who like her husband is an idealist. She believes that politicians serve their own self-interest rather than the interests of the people, and upon finding out that her husband may be running for the presidency, she pushes him to stick to his populist convictions.

Unfortunately, playing politics is a dirty game. As we get a peak behind the political curtain, we see just how much strategizing, manipulating and palm greasing actually takes place. This puts Grant in quite the pickle, pitting him against his party, his ideals, his mistress and his wife.

Although I’ve never been a politician, I can confidently say that State of the Union doesn’t seem to be too far from the truth. Look at modern-day outsider candidates like Nevada’s Sharron Angle and Delaware’s Christine O’Donnell, who, once receiving their party’s nomination, were quick to start spewing the same Republican talking points. The only difference is that Grant is a likeable and intelligent candidate, whereas his real-life counterparts are divisive and seemingly simple.

Strawdog Theatre - State of the Union - 10/6/10 

Photo by Chris Ocken 
Copyright 2010 - www.ockenphotography.com Strawdog has assembled an amazing cast. Dailey portrays grant as a sympathetic idealist. The kindness and sincerity he brings to the role helps us identify with him despite the fact that he’s a flawed husband. Likewise, Thulin provides Mary with a boldness that makes her a believably powerful force against the chummy, political insider boys’ club. Other standout performances include BF Helman as political strategist Jim Conover and Anderson Lawfer as the sassy journalist/campaign manager Spike MacManus.

Geoff Button’s direction is commendable, especially given the sheer number of entrances and exits he has to manage throughout the play, especially in the third act, which is one of those party scenes that literally fills the room with colorful characters.

If the upcoming elections have you tiring of the theatre of politics, then why not check out some insightful political theatre? Along with voting, go see Strawdog’s snappy and relevant production of State of the Union.

   
   
Rating: ★★★½
   
   

Strawdog Theatre - State of the Union - 10/6/10 

Photo by Chris Ocken 
Copyright 2010 - www.ockenphotography.com

   
   

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