REVIEW: K. (The Hypocrites)

 

Allen goes coo-coo for Kafka

 

 

The Hypocrites - K - by Greg Allen004

   
The Hypocrites present
   
K.
   
Written and Directed by Greg Allen
at
Chopin Theatre, 1543 W. Division (map)
through November 28   |  tickets: $14-$28  |  more info

Reviewed by Barry Eitel

At the last three productions I’ve seen put on by The Hypocrites, arguably the local leader in avant garde storefront, there’s been some blatant reference to the originating text. In Sean Graney’s stage adaptation of Frankenstein last year (our review ★★), the pages of numerous copies of Mary Shelley’s book were pasted on The Hypocrites - K - by Greg Allen001the back wall. In No Exit (review ★★★), Inez splattered toothpaste all over the set and tacked on leaves from Jean Paul-Sartre’s Being and Nothingness. And in their season opener K., translated from “The Trial”, a semi-finished novel from that proto-surrealist genius, Franz Kafka, characters read, toss around, and swear upon a tiny copy of Kafka’s chilling story. The stage adaptation and direction are the handiwork of Neo-Futurist Greg Allen, a master of metatheatricality. The production unravels in the last few scenes, but the darkly funny story is an enthralling journey. One wonders, considering that Kafka died before finishing “The Trial” (or any novels, really), if this is sort of the point.

Allen first penned his adaptation in 1996. “K.” is Josef K., Kafka’s unwitting protagonist in his slamming critique of law, order, and bureaucracy. “The Trial” is pretty much an expressionist legal thriller, with less crime and more paperwork. K.’s monotonous life is disrupted when he is arrested one morning, but not detained and never told what offense he committed (the police don’t even know). The rest of the piece follows K.’s long, occasionally action-packed struggle to get his trial to go to trial.

 

The Hypocrites - K - by Greg Allen005 The Hypocrites - K - by Greg Allen002

Allen cherrypicks from Kafka’s plot. He hits important characters and scenes, but he streamlines the piece. This works well for the adaptation; K.’s Sisyphean legal journey is easy enough to follow and digest. Allen then plugs the gaps with a self-awareness that shocks the story into a stage life, one that is very aware that it is theatre. The actor playing K.’s father, Sean Patrick Fawcett, must yank a program from the audience to prove to K. that he is, in fact, K.’s father. A painter sells works with titles like The Hunger Artist, The Penal Colony, and The Castle. And there’s a full-on Metamorphosis moment. These choices tap into themes that both resonate with the original text and go beyond it: the nature of narrative, and reality, for that matter.

Brennan Buhl’s portrayal of K. syncs perfectly with Allen’s vision. He straddles the script, keeping one foot in the story and the other in our world. Sometimes he is charmingly aloof, making it seem like he’s part of some dark improv set—ready to joke and riff off whatever happens to him. At other crucial points, he snaps into the plot’s reality with devastating somberness. Buhl’s performance is stripped of sentimentality; his whole world is funny and inconsequential until the agonizing futility of his situation beats him into submission.

The Hypocrites - K - by Greg Allen003There are a few times when the Allen’s meta-theatre meddling fails to produce the fruit, the ending being the prime example. K. has a possibly fatal encounter with his arresting officers, but the final outcome isn’t revealed, and Buhl sucks in the audience at the last moment….except we don’t know where we’re going. We get a sort of “what happened?” moment, and I was very confused as to what actually happened. Allen’s tight focus slackens here and the moment clogs up the heavy theatrical metaphor flowing through the piece.

Buhl is joined by a great supporting cast who all jump into a massive gumbo of personas. They do great things with Chelsea Warren’s set, which features plenty of doors to shift around, open, and slam. There’s an energy present here that isn’t seen often today, one that doesn’t mock the fact that theatre is happening, but lovingly accepts the art form while pushing its limits. Even with K.’s misfires, Allen has created riveting, intellectual theatre.

   
   
Rating: ★★★
  
  

Brennan Buhl - Hypocrites Theatre - Greg Allen

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REVIEW: Daredevils’ Hamlet (The Neo-Futurists)

 

“Jackass” Meets The Bard

 

 

Jay Torrence, John Pierson, Trevor Dawkins, Ryan Walters, Anthony Courser, Brennan Buhl - from Neo-Futurists' "Daredevil's Hamlet"

   
The Neo-Futurists present
  
Daredevils’ Hamlet
  
Written by Ryan Walters and ensemble
Directed by
Halena Kays
at
Neo-Futurarium, 5153 N. Ashland (map)
through September 25  |  tickets: $15  |  more info

reviewed by Lawrence Bommer

Only in culture centers like Chicago could there be a theater audience savvy enough to completely comprehend this show’s connections between Shakespeare and professional wrestling, the indecisive Hamlet’s crisis of confidence and the endangered masculinity of modern metrosexuals; the actors’ own neuroses and the Shakespearean characters they’re most drawn to. We deserve this show, if only because it won’t be lost on us.

Ryan Walters, from Neo-Futurists' "Daredevil's Hamlet" In 2005 Ryan Walters’ band of jumpsuited or strait-jacketed daredevils created their first edition of exuberant “jackassery.” But, intent on putting statements behind their stunts, five years later the quintet are riffing on “Hamlet,” using their cartwheels, tumbling, acrobatics, and hoop diving to illustrate the melancholy Dane’s identity crisis and adding their own autobiographical confessions to this absorbing “afterword.” (Each gets to answer questions about their dads, whether they would avenge their father’s murder by exterminating their uncle, and whether they are men of action or men of thought.)

The audience is warmed up as an interactive game of “Four-Square” opens the inquiry. It’s followed by various action-oriented depictions of scenes from the tragedy: Young Ryan Walters rides a tricycle as he attempts a small-scale Knievel-like jump across a wooden ramp. (The exact link to Hamlet escaped me here except that he was also reciting the “What a piece of work is man!” speech.) The graveyard scene is depicted with the performers naked in black light with tiny skulls lit up as codpieces over their privates. Ophelia’s drowning occurs in a real flower-strewn trough, a kind of life-size baptismal font. Though the fight between Hamlet and Laertes is reduced to overhyped WWF combat, the sword fight finale is performed exactly as written because, of course, the daredevils can’t overdo the original when it comes to exaggerated overkill.

John Pierson, from Neo-Futurists' "Daredevil's Hamlet"

These 100 minutes teem with fascinating connections where art deconstructs art and life imitates itself. Buhl, stretching a bit, compares Hamlet’s pursuit of justice with his own memories of “wild play” in a kiddie pool that got out of control. Anthony Courser prefers to portray an action figure like Robin Hood whose black-and-white status as a legend is preferable to Hamlet’s moral ambiguity. John Pierson describes the fasting and sacrifices he intends to make throughout the show’s run (including sex and modern food). Jay Torrence is fascinating by Horatio’s loyalty to Hamlet and depicts it with some homoerotic interaction with Walters. Finally, the show’s conceiver, Ryan Walters, playing the pseudo crazy, roller-skating Prince of Denmark, eloquently soliloquizes on the transience of life and its poignant surrogate, the theater, as he bends over an audience member who he intends to never forget. There’s even a brief interlude in which an unnamed actress enters as Gertrude to make a rather convincing defense of Hamlet’s much maligned mother.

It’s not the sometimes indulgent, hit-and-run skits that convince here; they’re clever distractions within a larger illustrated lecture. What wears you down and finally wins you over is the fascinating totality of this free-form action portrait of a play that’s as seemingly inexhaustible as the sun. “Hamlet” and Hamlet are everything we can project onto them and Daredevil’s Hamlet exposes us every bit as much as it illuminates a rather old script.

   
   
Rating: ★★★
  
  

Trevor Dawkins and Ryan Walters, from Neo Futurists' "Daredevil's Hamlet"

All photos by Candice Conner / Oomphotography

   

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