Review: The 13th of Paris (LiveWire Chicago Theater)

     
     

Romantic dramedy is crippled by weak script

     
     

Jacques (Robert McLean) woes Chloe (Madeline Long) as Vincent (Joel Ewing) observes in Mat Smart's charming and theatrical play, The 13th of Paris

  
LiveWire Chicago Theater presents
   
The 13th of Paris
  
Written by Mat Smart
Directed by Steve Wilson
at Greenhouse Theater Center, 2257 N. Lincoln (map)
through April 17  |  tickets: $20  |  more info

Reviewed by Oliver Sava

The script is the foundation of a play. No matter how talented an ensemble may be, if the foundation is weak, the production crumbles. Mat Smart’s script for The 13th of Paris lacks many of the fundamental characteristics for strong theater – an emotionally rich story, believable characters, logic – and Livewire’s production buckles without the support. The plot focus on Chicagoan Vincent’s (Joel Ewing) struggles with his long-term girlfriend Annie (Laura Bess Ewing), who he has abandoned to go to Paris and find himself in the apartment owned by his dead grandparents. As the present-day events unfold, the story of Vincent’s grandfather Jacques’ (Robert McLean) courtship of Vincent’s grandmother Chloe (Madeline Long) in a French café is simultaneously unfolding. Smart’s script attempts to make some grand comparisons between contemporary courtship and classic romance (the type that takes place in a cozy café where old men charm young girls with flowery platitudes), but ultimately gets buried in clichés and an inconsequential plot.

The play begins with a pants-less Vincent discussing the merits of love with the spirit of his grandfather, and the jokes about his state of pants-less-ness carry on considerably past the point of tolerability. The script contains a couple of these gags that might work in a show that is more focused on heightened comedy, but Smart is unsure of what tone he wants for his story. Chunks of comedy are followed by chunks of drama, rather than having both elements seamlessly combine throughout, and the result is disjointed. The play’s humor vacillates between slapstick to caricature, and once Annie’s drunk friend Jessica (Krista Krauss) and British husband William (Max Lesser) enter, reality goes out the window like the love letters Jacques throws off his balcony. The hyper-sexual pair serves as another contrast to the Jacques/Chloe story, but both characters are written as such stereotypes that it’s difficult to connect to either on a personal level.

Vincent (Joel Ewing) attempts to write from the heart as Jacques (Robert McLean) and Chloe (Madeline Long) share a dance in Mat Smart's charming and theatrical play, The 13th of ParisA major problem is that Vincent and Annie’s relationship lacks any real emotional depth, largely due to the one-sided nature of the script. There’s plenty of people talking about Annie, but by the time she shows up to tell her end of the story, the play has been meandering for well over an hour. Vincent’s concerns that their relationship is becoming boring and his girlfriend too accommodating don’t seem to necessitate the international trek, and when Annie bankrupts herself to take the same trip (in an incredibly fast plane), they come to an understanding that could have just as easily happened in their living room in Chicago. Similarly, William’s marital conflict with Jessica, namely that she wants sex too often, is a fairly shallow one, especially considering the ease with which William succumbs to his wife carnal demands.

Despite the weaknesses of the script, the cast is trying their hardest to bring a sense of reality to the play, but they can only go so far. Technically, the French dialects from McLean and Long could be more polished, but for the most part the actors provide admirable performances of badly written characters. The play’s strongest moment happens toward the end, as the final moments of Jacques and Chloe’s romance unravel, but it’s not enough to make up for the 90 minutes that preceded it. The play ends with a song from French rockers Phoenix (“Rome” for a play about Paris), and it feels like a cheap attempt to use inspirational music to bring emotion to a lacking script.

  
  
Rating: ★★
   
  

Jacques (Robert McLean) supports Vincent (Joel Ewing) along his journey to find love in Mat Smart's charming and theatrical play, The 13th of Paris

The 13th of Paris continues at the Greenhouse Theater Center  through April 17th, with performances Thursday-Saturday 8pm, Sundays 3pm.  Tickets are $20, and can be purchased online or by calling the box-office at 773-404-7336.  More info available at www.livewirechicago.com.

  
  

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REVIEW: Hideous Progeny (LiveWire Chicago)

The devil’s in the details:
Anachronisms mar historical drama

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LiveWire Chicago Theatre presents
       
Hideous Progeny
  
By Emily Dendinger
Directed by Jessica Hutchinson
Storefront Theater, 66 E. Randolph St., Chicago (map)
Through Sept. 26  | 
Tickets: $15–20  |  more info

Reviewed by Leah A. Zeldes

When you’re creating a work of historical fiction, the most important part lies in getting your history straight. Lacking grounding in its period and riddled with historical anachronisms that distract from the drama, LiveWire Chicago Theatre’s Hideous Progeny, a new play by Emily Dendinger now at Storefront Theater in the Loop, loses coherency.

LiveWireChicagoTheatre_HideousProgeny_05 Set at the Lake Geneva, Switzerland, house rented by George Gordon Byron during the summer following the Romantic poet’s self-imposed exile from England, Hideous Progeny focuses on the probably apocryphal tale of the horror-story competition said to have inspired the novel "Frankenstein" by Mary Wollstonecraft Godwin, who was staying near Byron with her lover, poet Percy Byshe Shelley.

It starts out well, with Anders Jacobson and Judy Radovsky’s lovely period set — a library scene with a tall, laddered bookcase, an upright piano, a small writing desk, a billiards table and brocade curtains framing leaded-glass windows from which flashes of lightning suggest the unpleasant weather of "The Year Without Summer.” Yet that’s all that evokes the early 19th century. Little about the play’s costumes, dialogue or acting brings to mind British gentry of the 1800s.

Hideous Progeny takes place in 1816, the height of the British Regency, a highly distinctive period when Beau Brummell dictated London fashions. Not only do Laura Kollar‘s costumes rarely flatter their wearers, they appear historically incorrect. Shelley looks like a 1950s frat boy. It’s unlikely that any Englishwoman of the time, no matter how bohemian, would have sported nose jewelry or an ankle chain, as Mary Godwin does here.

Nor would any lady of 1816 have worn a dress with a zipper, which had yet to be invented and wasn’t on the market until after the Universal Fastener Company was organized in Chicago in 1894. Normally, I wouldn’t quibble over minor costuming details, but it becomes impossible to overlook this gaffe in a scene during which the dress is unzipped.

The script, too, contains its share of historical slipups. Byron is constantly drinking "merlot," which the real poet could not have done in Switzerland in 1816. Varietal names for wine were a New World marketing ploy that began in the 1970s — even today, European wines are largely labeled by geographic region — and the merlot grape was used only as a secondary blending variety until late in the 19th century. It puzzles me why the playwright, deciding she needed to mention a specific wine over and over again, didn’t trouble to look up one fitting her period.

Dendinger also plays with the historical facts of her characters. In another peculiar error, Shelley claims to possess a title, like Lord Byron’s.

Byron supposedly misses his young daughter "whose mother has taught her to confuse the meanings of the words ‘papa’ and ‘Satan,’" and expresses his hopes that she’ll join him if his wife "refuses the divorce." Yet in fact, Byron most reluctantly agreed to legal separation from his wife, Anne Isabella Milbanke, and their child would still have been a babe in arms whom he’d not seen since a month after her birth the previous December.

Byron wrote poignantly of his daughter Ada in the third canto of "Childe Harold’s Pilgrimage," but no evidence suggests he ever tried to gain custody, despite English law giving fathers all rights. The play deals with this by hinting at dark accusations Lady Byron might have brought against him. but never mentions them directly. (Byron was accused in his lifetime of committing incest with his half sister. It’s also rumored that he was bisexual and engaged in sodomy with both male and female partners.)

 

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There’s nothing wrong with altering history for the sake of drama … if it works. This doesn’t ring true. The arrogant Byron of this play seems unlikely to pine for an infant he’d barely seen, particularly given his callousness when his current bedmate turns up pregnant.

While those familiar with the subjects will be troubled by the play’s lapses from history, Dendinger offers little help as to who’s who for those who don’t already know the saga of this menage. Besides Godwin and Shelley, Byron hosts his private physician, John William Polidori, depicted as a klutz with a crush on the Swiss maidservant, Elise, and Jane "Claire" Clairmont, Godwin’s younger stepsister, with whom the disdainful lord is sleeping. Clairmont has possibly also been intimate with Shelley — at any rate, she’s lived with him and her sister ever since the then 17-year-old Godwin ran off with the still-married Shelley just over two years previously.

Although some of the dialogue comes directly from the historic writers’ published words, Jessica Hutchinson directs her cast — Patrick King as Polidori, Tom McGrath as Shelley, Danielle O’Farrell as Clairmont, John Taflan as Byron and Hilary Williams as Godwin — as if they were playing in a modern soap opera. Only Madeline Long, as the French-speaking Elise, ever seems to shed a contemporary American persona.

If the out-of-period elements were meant to convey some connection to the present day, it’s too subtle.  The production’s video trailers suggest that a spicier contemporary concept might once have been envisioned, yet the effect we get in the production as staged is that they spent so much money on the set, they couldn’t afford appropriate costumes, dramaturgy or a dialect coach.

LiveWireChicagoTheatre_HideousProgeny_08 Godwin, pregnant with her third child by Shelley, spends the play glowering, moody and jealous of Shelley’s relationship with Clairmont and prone to verbal jousting with Byron, who tends to bait her about her ur-feminist mother, Mary Wollstonecraft, author of "A Vindication on the Rights of Woman." She’s still troubled over the death of her first, premature baby and rants about herself as a "death bride." Byron, however, forms the centerpiece of the play, portrayed as a morose and self-centered jerk. Shelley never really comes to life at all.

Nor does "Frankenstein." While watching writers write makes for boring theater, we get very little of what inspired the classic novel or Godwin’s thoughts as she created it, save for an intriguing scene in which Godwin and Polidori repeat an experiment by 18th-century biologist Luigi Galvani showing the effects of electrical impulses on a frog.

Besides "Frankenstein," the fateful summer of 1816 brought us Polidori’s seminal novel, "The Vampyre"; Shelley’s early ode, "Hymn to Intellectual Beauty"; and Byron’s eerie "Darkness"; all of which get short shrift from the playwright.

In the end, we’re left with a jumbled slice of meaningless, not-very-accurate life.

   
   
Rating: ★★
   
  

 

  

        
        

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