Review: My Filthy Hunt (The Right Brain Project)

     
     

‘My Filthy Hunt’ sells itself on grit, but offers better

     
     

Elizabeth Orr, Bries Vannon, The Right Brain Project, My Filthy Hunt

   
Right Brain Project, i/a/w Horizon Arts and Richard Jordan Productions presents
   
My Filthy Hunt
      
Written by Philip Stokes
Directed by
Nathan Robbel
at
The RBP Rorschach, 4001 N. Ravenswood (map)
thru March 19  | 
tickets: $15  |  more info

Reviewed by Dan Jakes

In the first minute of Philip Stokes’ curiously-titled My Filthy Hunt, four brooding actors stare down the audience, strip to their skivvies, then bounce around while manically accompanying some blaring rock.

From this unpromising start comes a thoughtful, engaging, sensitive play about devastation and recovery.

Though it doesn’t “spit in the face of theatrical convention” as the show’s press release–and indirectly, the grim, tawdry posters– suggest, it’s probably Erin Elizabeth Orr, Greg Wenz, Right Brain Project, My Filthy Huntbest that it doesn’t. “In-yer-face theatre” is challenging in the era of anything-goes art, and dependence on shock to elicit attention usually comes at the sacrifice of actual substance. These artists have something to say, and though the source-material may allow it to in lesser directorial hands, the message doesn’t get muddied with an initiative to offend.

Even when delivered by players in their underpants.

Four strong, detached monologues follow the opening, each centering on sexual or emotional insecurities. The cast (comprised of Erin Elizabeth Orr, Emma Peterson, Bries Vannon, and Greg Wenz) is animated and earnest, finding the anguish and humor in each speech.

When those concepts overlap, such as when a young man relays his attempt to commit suicide with a bottle of fish oil supplements, the ensemble is at its best. Likewise, a woman’s lament about the more sinister side of growing up attractive is touching and thought-provoking.

The latter-half of this one-act is where director Nathan Robbel’s focus on specificity really shines. The quartet responds to a tragedy with a tightly-woven, almost Pinter-like scene of short-fused call-and-response dialogue. It’s almost musical. The details of the event are left mostly in the background, but they’re unimportant. Elements of loss are universal, and these actors convey them with empathy and authenticity. One shouts out for donuts, and we see the nonsense that can overtake us in moments where reality becomes incomprehensible.

Stokes’ text is composed with a careful hand, exploring dark issues with a sense of maturity and restraint. His otherwise talky play is made visually fascinating by Robbel’s movement work–always enough to heighten the stories without distracting from them.

Robbel makes playful, decisively physical use of The Right Brain Project’s tiny (it’s a stretch to call the space a black box) Ravenswood theater. Though sight-lines are at times an issue, the production team embraces the opportunity for smart minimalism. There are no props save for some cell phones and one well-used coat rack, and many of the emotional and thematic shifts are indicated through Michael C. Smith’s resourceful lighting design.

Good theatre doesn’t require much to be compelling. My Filthy Hunt is an argument for how.

  
  
Rating: ★★★
   
  

Bries Vannon, Elizabeth Orr, Right Brain Project, My Filthy Hunt

My Filthy Hunt continues through March 19th (8:00pm Thursdays – Saturdays, 7:00pm Sundays), with an additional industry performance scheduled Monday, March 7th. Admission is a suggested donation of $15. Reservations are highly recommended, and can be made by calling the RBP box office at 773.750.2033, or by emailing requests to tickets@therbp.org. For more information, please visit www.therbp.org.   All photos by Nathan Robbel.

     
     

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REVIEW: Aftermath (Signal Ensemble Theatre)

  
  

The battle for the soul of Rock ‘n’ Roll

  
  

(left to right) George (Andrew Yearick) introduces Brian (Aaron Snook) to the sitar, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath,” written and directed by co-artistic director Ronan Marra.  Photo by Johnny Knight.

  
Signal Ensemble Theatre presents
  
Aftermath
  
Written/Directed by Ronan Marra
at
Signal Ensemble Theatre, 1802 W. Berenice (map)
through Jan 23  |  tickets: $20  |  more info

Reviewed by Paige Listerud

Coming late to the Aftermath party, I wanted to see how well the production has held up since switching to Signal Ensemble’s own theater space. Extremely well, it would seem, from the sold-out crowds. Chicagoans are undeniably enjoying playwright and director Ronan Marra’s musical bio and tribute to Brian Jones, the eclectic 60s rock genius and tragic founder of The Rolling Stones.

Mick (Nick Vidal) sings while Brian (Aaron Snook) plays the sitar, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath,” written and directed by co-artistic director Ronan Marra. Photo by Johnny KnightClearly, critical kibitzing may mean nothing, now that Signal’s production has rolled along just fine, both reawakening Boomer nostalgia and exposing a younger generation to the Stones with a laudable facsimile of the original band’s performances. In fact, Marra’s requirement for musical proficiency in his cast stands at the throbbing heart of Signal’s production. Much as Aaron Snook charismatically captivates the audience, intrepidly holding attention under a fabulous mop top of blonde hair, he also pulls his weight hinting at Brian’s natural facility with multiple instruments by playing dulcimer, sitar and electric guitar. The music is the thing. The band’s excellence is the show’s mainstay. Once Mark J. Hurni’s dramatic lighting comes up on “Paint it, Black,” you know that this train is stopping for no one.

Except for one small, perceivable flaw—as Mick Jagger, Nick Vidal’s voice achieves a suitably approximate timbre but is almost drowned out by the force of the band. At least at my Sunday matinee viewing, seated in the front row, most song lyrics were indiscernible. Only during “Lady Jane” does Vidal hold his own, volume-wise. That’s too bad, especially since every other aspect of Vidal’s portrayal is electrifying. He has captured Mick’s strut, the liquid energy that made Jagger a consummate showman and indisputable sex idol. When acting, Vidal has Jagger’s snarky insouciance down pat, but behind the mic his voice pales. Joseph Stearns also doesn’t make for a thoroughly realistic Keith Richards—but the pressure isn’t on him as it is Vidal. He’s not the front man.

Dramatically, Marra’s writing also is lacking. His jukebox musical has an excellent sense of structure, with each number placed to move the action and characters forward; the boilerplate dialogue and predictable storytelling, however, may as well have come from MTV’s “Behind the Music.” Marra wants a balanced reflection on Brian Jones’ life and forgotten contributions to the Rolling Stones’ aesthetic. Yet, he simply hasn’t taken risks to plumb the depths of his troubled but fascinating rock idol. Instead, the audience is lead through a pageant of Brian’s struggles—his battles with Mick for artistic leadership of the Stones, his musical giftedness, his affair with model Anita Pallenberg (Simone Roos) and his downward spiral into paranoia and drug dependency.

     
(left to right) Brian (Aaron Snook) and Mick (Nick Vidal) perform a song, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath”. Photo by Johnny Knight (left to right) Bill (Nathan Drackett) and Charlie (Bries Vannon) laugh at the rest of the band during an interview, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath”.

In Snook, the show has an actor whose performance gives more ballast to Marra’s two-dimensional writing, but even he cannot redeem the material from its well-worn clichés. Once Brian suspects Anita in an affair with Keith, he and Roos together carry out especially visceral performances, but most of the rest of the action is a predictable dance of rock star dissolution that skirts the edges of both Jones’ genius and his darker side. We leave knowing no more about what made Brian Jones tick than before.

Plus, for hardcore rock aficionados, Marra’s work is just as much an act of forgetting as it is a loving tribute to the fallen Rolling Stone. Significant figures in Brian Jones’ life get tossed wholesale from Aftermath’s storyline. Instrumental to Jones’ ouster from the band was the arrival of Andrew Loog Oldham, who eventually took over most of Jones’ managerial duties and pushed for Jagger/Richards’ songwriting in the name of sustained financial success. Without Oldham’s presence or mention in the drama, Mick Jagger comes across as the principal villain behind Brian getting sacked from the group.

Brian (Aaron Snook) tells his story to the audience, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath” What’s more, significant musical creations get lost in Marra’s truncated retelling. At one point Marra has Brian Jones bring up “Their Satanic Majesties Request”, only to toss it off as just a forgettable, sub-par Stones’ album. Actually, the album was the Stones’ brief venture into psychedelic rock, which reached its apex in 1967. This was the direction in which Jones, with all his world music influences, was going. But its production, broken up by court appearances and random showings by band members and their friends, proved to be a monster to complete. Once produced, it looked like a cheap knock off compared to the Beatles’ wildly successful “Sgt. Pepper’s Lonely Hearts Club Band,” which had beaten the Stones to release by six months.

“Their Satanic Majesties Request” was Jones’ last hoorah in terms of his musical influence on the band. According to Richie Unterberger of Allmusic, the album “. . . incorporated African rhythms, Mellotrons, and full orchestration. Never before or since did the Stones take so many chances in the studio. In 1968, the Stones would go back to the basics, and never wander down these paths again . . .” A 1998 bootleg box set of the outtakes of the Satanic sessions reveals Jones in fruitful collaboration with Keith Richards and session pianist Nicky Hopkins, creating the album’s eerie soundscapes. But psychedelic rock was soon to fade as quickly as it had blossomed and Brian was going with it.

Obviously not everything about the Jones’ life can be mentioned, but certainly these milestones deserve more than a glossing. In the end, however, Aftermath remains an enjoyable evening of nostalgic entertainment.

  
  
Rating: ★★½
    
   

Brian (Aaron Snook, left) talks to a reporter (Vincent Lonergan, center) while Mick (Nick Vidal, right) listens, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath".

   
  

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REVIEW: Cherrywood (Mary-Arrchie Theatre)

Party on, Dude!

 

cherrywood

  
Mary-Arrchie Theatre presents
  
Cherrywood: The Modern Day Comparable
   
Written by Kirk Lynn
Directed by
David Cromer
at
Angel Island Theatre, 735 W. Sheridan (map)
through August 8th  |  tickets:  $13-$22  |  more info

reviewed by Katy Walsh

Fliers announce ‘Party Tonite for anyone who wants a change.’ Mary-Arrchie Theatre presents the Midwest premiere of Cherrywood: The Modern Day Comparable.  A foursome decides to host a party. They have three kinds of chips, an array of music, bottles of booze and a shots of… milk? In response to their fliers, the guests arrive and fill up the house. The usual party suspects are all present. Free loading crashers. Whiny girl. Depressed divorced guy. Unwanted neighbor. Gaggle of gals in bathroom line. P.D.A. couple on the dance floor. Hot shirtless guy. Person continually announcing ‘I’m wasted.’ Sporadic drunken wrestling. It feels, looks and sounds familiar except with a couple of twists: Somebody brought a gun. Everybody has been drinking wild wolves’ milk. People are opening boxes of their secret desires. Cherrywood: The Modern Day Comparable is a virtual reality party experience without the pressure to mingle or the aid of a cocktail.

In a large living-room-like space, the audience seats encircle the action. Closely matched in numbers, the 50+ wallflowers watch the 49 performers party. It’s such a tight fit that I needed to move my purse before a guy sat on it. Director David Cromer has gone fire-code-capacity to create an authentic party.

The proximity blurs the fourth wall completely in deciphering between the party gawkers versus goers. I consciously refrain from shouting out an answer to ‘name a good band that starts with the letter ‘A’.’ It seems like a jumbling of improv mixed in with scripted lines. Crediting playwright Kirk Lynn with some of the best lines, it’s existentialism goes rave with the ongoing philosophy ‘if you want something different, ask for it.’ Lynn writes dialogue describing cocktail banter as ‘question-answer-it-doesn’t-always-happen-like-that’ mockery. One character describes herself with ‘everything I do is a form of nodding. I want to break my neck to stop nodding.’ In a heated exchange, the neighbor jabs, ‘you remember the world? It’s the room outside the door.’ It’s genuine party chatter. Some conversations are playful. Some are deep. Some just don’t make any sense. Clusters of people are sharing philosophical drunken babble throughout the room. A gunshot brings the house of strangers together in a communal bonding alliance.

For the theatre goer looking for a break from classic plot driven shows, Cherrywood: The Modern Day Comparable is performance art. It is a ‘Party Tonite for anyone who wants a change.’ For those who wonder what Chicago actors and designers do off-season, this is an opportunity to fly-on-the-wall it. If you’ve anticipated they hang out together and party, this would be your imagined drunken haze. The who’s who of storefront theater is boozing it up. It’s a Steep, Lifeline, Dog & Pony, House, Griffin, etc. reunion bash, and man do they know how to party!

  
   
Rating: ★★★
       
    

Running Time: Ninety minutes with no intermission

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REVIEW: Aftermath (Signal Ensemble Theatre)

Life of Brian – a rolling visionary

 

Aftermath 2 Aftermath 5Aftermath 1  
  
Signal Ensemble Theatre presents
 
Aftermath
 
Written and directed by Ronan Marra
at Raven Theatre, West Stage, 6157 N. Clark  (map)
through June 6th  |  tickets: $20  |  more info

reviewed by K.D. Hopkins

I can’t hear the name Rolling Stones without the sound of “Jumping Jack Flash” appearing in my head. I can clearly see the Stones on Ed Sullivan – menacing and Aftermath 5kind of nasty in a sexy bad boy way. The tabloid stories and biographies ‘as told to’ are plentiful with the legendary musicians looking into the camera or artfully demurring. The Signal Ensemble Theatre’s production of Aftermath peers into the unsung genius of Brian Jones.

Writer/director Ronan Marra discovered Brian Jones’ story as a teenager and developed this play as a balanced and loving homage. Nick Vidal as Mick Jagger infuses a frisky and explosive energy into the performance. He slightly resembles Jagger and has a decent voice. Vidal veers into the operatic when singing “Lady Jane,” which threw me off a bit. Marra’s Jagger is an ego driven and preening icon. The reenactments of group interviews come off as both funny and painful to see how Jagger downplayed Jones’ contributions to music. He made himself and Keith Richards the centerpieces instead of acknowledging collaboration as a group.

Aaron Snook plays the role of Brian Jones. Snook speaks directly to the audience post mortem. He plays the drug-addled and mentally ill Jones with a childlike quality. Snook imparts a sympathetic edge that tempered the violence and tantrums for which Jones is remembered. Marra’s direction has Jones literally fading away, the lights making his blonde hair and pale skin even more so.

Comic relief comes in the form of Joseph Stearns and Bries Vannon as Keith Richards and Charlie Watts respectively. Richards’ drug use still leaves people wondering how he is alive. Stearns does a great imitation of Richards and plays the stoner beautifully. In a television interview, Jagger is seen doing most of the talking with the host but the focus is on Richards’ interaction with the host’s sidekick played by Phillip Winston. The best line of the night went to Stearns as well. (I’m thinking of Aftermath 1 getting “whiskey stealing interrogation banshee” put on a tee shirt). Vannon’s depiction of reticent drummer Charlie Watts is excellent in spite of no real physical resemblance. Vannon infuses the role with a dry and sweet manner. The running joke is that Watts always threatened to quit the band but never did.

Ensemble member Simone Roos ably plays the role of rock chick Anita Pallenberg. It has only been a recent occurrence that the women passed around by the bands have been telling their sides of the stories. To Marra’s credit, he writes Pallenberg as more than a groupie. The scenes between Roos and Snook are violent and painful as Jones’ paranoia and insecurity increase from the drugs and fear of abandonment.

Andrew Yearick, in the role of George Harrison, is a nice surprise. He recently appeared in The House of Yes at The Artistic Home Studio (our review ★★★). Yearick portrays a mellow and spiritual Harrison around the time of his exploration into Indian music. He and Snook share a duet on “Norwegian Wood,” self accompanied by guitar and sitar. Harrison is introducing the sitar to Jones as something that is tuned into the player and then they rush through the song, a pacing that is much too fast.

It is to be noted that this talented group of actors actually play the instruments and do a stellar job of it. You’ll no doubt find yourself grooving to the irresistible beats and riffs. On the night that I went, It was pretty evident that most of us were Stones fans.

The theatre is decorated with reenactments of classic Rolling Stones 45 and album covers. The stage is flanked by vertical rows of vinyl records in both sizes and set up for a concert. This is an appropriate choice since it really comes down to the music after an exploration of the legend. Aftermath is a poignant remembrance of Brian Jones and of a time when the world seemed much bigger.

 

  
  
Rating:  ★★★
  
  

Aftermath runs through June 6th, 2010. Thursday, Friday, and Saturdays at 8:30pm, Sundays at 3:30pm. (May 24th performance is at 7:30 pm) Tickets are available at www.signalensemble.com or call 773-347-1350. Be prepared to rock!

 

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