REVIEW: The Earl (The Inconvenience)

  
  

Now extended through March 2nd!

Strange brotherly love in company’s inaugural production

 
 

The Inconvenience's 'The Earl' at A Red Orchid Theatre. Photo credit Ryan Borque.

  
The Inconvenience i/a/w A Red Orchid Theatre presents
      
The Earl
  
Written by Brett Neveu
Directed by
Duncan Riddell
at
A Red Orchid Theatre, 1531 N. Wells (map)
through Feb 23 March 2  |  tickets: $15  |  more info 

Reviewed by Dan E. Jakes

Edward Bond’s miscreants have some competition for Theatre’s Most Twisted Youngsters in Brett Neveu’s grisly dark comedy, The Earl.

The Inconvenience’s revival marks the ensemble’s first professional production and the play’s third presentation, following an independent film adaptation by Jim Sikora four years ago and A Red Orchid’s original six-month run in 2006. From the looks of it, The Earl’s blood is still pumping strong.

Danny Goldring, now starring in 'The Earl' by The Inconvenience at A Red Orchid Theatre.  Photo credit Ryan Borque.Strong, or at least bountiful, gushing from the limbs and noses of its characters and streaming down the walls of its set.

The story is straightforward: three brothers reunite in an abandoned basement office for a high stakes game of physical abuse. Think bloody knuckles, but the Olympic version, with faces and knees substituting for knuckles and crowbars substituting for quarters.

Why? Probably for the same reason children in school yards voluntarily play “wall ball” (the innocent title doesn’t imply the notorious “no-block crotch-shots rule“, does it?), or the more presumptive “smear the queer.” Who knows. The rules of the brothers’ contest are never made quite clear–there’s a lot of counting and letters and special exceptions–but it’s not for us to know the details, is it? As Artistic Director Christopher Chmelik puts it in his program note, “[There’s] no judging panel or officials with the final say. The brothers wrote the rule book,” and that book remains a secret. Sick as it may be, the in’s-and-out’s of the unnamed game are honored with a special family bond not extended to outside ranks.

So, when famous action star Lawrence Stephens (played with a nice blend of kitsch and menace by Danny Goldring) is invited to join the brawl, assuming the role of an “Earl,” the game takes a brutal turn for the unexpected.

Like any good thriller, Neveu’s text layers its release of information slowly and unpredictably. Director and A Red Orchid Literary Manager Duncan Riddell paces the action carefully. I didn’t want to see too much, but I couldn’t look away. It’s a ballet of watching and wincing. When violence does erupt, Fight Choreographers Chuck Coyle and Ryan Bourque don’t disappoint. Theatre isn’t the greatest outlet for action (at least in the “wham-bam” sense), so fight choreography typically amounts to aggressive dancing. With the help of a collaborative young cast, Riddell overcomes the form’s limitations and uses the full visual and aural spectrum to create an exhilarating illusion.

Danny Goldring and cast in The Inconvenience's 'The Earl' at A Red Orchid Theatre. Photo credit Erica Jaree.

It’s fair to say that The Earl has more balls than brains, but that’s not to say it‘s dumb. This is an impressive, quick-witted ensemble, and the young trio has built a fascinating, mostly unspoken family dynamic. Among the sadomasochistic clan is Ryan Borque (Kent), a gangly, giggly ball of tics. He’s the severest case of arrested development of the group, and brings an estranged, juvenile sense of joy to the chaos around him, even when injured. Bourque is captivating, remaining charismatic with a broken nose. Likewise, Walter Briggs (Peter) and Chris Chmelik (Rick) know their backgrounds and supply the given circumstances that raise the show above the level of wrestling match to bold work of theatre.

The Earl works as a one-act, but when the house lights came up for curtain call, I was hoping we were at intermission. The dramatic ground work and characterization are laid for a full-length play, and though the show is structurally complete, it did leave me wanting to see more story fleshed out. It originally ran as a late-night show, and likely works better with that mentality going in. But even at 8, it’s a thrilling little piece of pulp fiction. And for that, I’m game.

  
      
Rating: ★★★
         
     

Danny Goldring and cast in The Inconvenience's 'The Earl' at A Red Orchid Theatre. Photo credit Erica Jaree.

        
        

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Review: Griffin Theatre’s “The Hostage”

Ballast Needed Along With the Blarney

 hostage1

Griffin Theatre presents:

The Hostage

by Brendan Behan
directed by Jonathan Berry
thru November 1st (tickets)

Reviewed by Paige Listerud

Brendan Behan’s The Hostage is a great, hairy monster of a play. Behan wrote this tragi-comedy, with quasi-musical styling, based of his own experience as a foot soldier of the Irish Republican Army. While pro-Irish Englishmen and English imperialist pomposity receive heaping helpings of satirical treatment, it’s the IRA Behan savages the most with his robust and agile wit.

hostage2 “I was court-martialed in my absence, and sentenced to death in my absence, so I said they could shoot me in my absence,” says Pat (Eamonn McDonagh) about own his service in the IRA. His character comes autobiographically closest to Behan. So, Griffin Theater’s production is a huge, messy meditation on the killing paradoxes of war and patriotism.

An Irish Republican, just 18 years old, is to be executed for killing a policeman, so an equally young and inexperienced British soldier is kidnapped by the IRA and brought to Pat’s teaming bawdy house to be slain in retaliation, should the execution go through. The young British soldier, Leslie (Rob Fenton), becomes a celebrity guest of the household; he is treated to beer by Pat and his mate, Meg (Donna McGough) and pursued by the prostitutes. He even falls in love with the fresh-faced housemaid, Teresa (Nora Fiffer). The whorehouse, filled with various Johns and transgender–as well as female–prostitutes, breaks into song and dance, commenting on the action and breaking the unresolved tensions involved in trying to sort out who is truly friend or truly foe.

hostage3 While humor is the mainstay of this play, much dramatic tension is lost when vital moments within it are not treated seriously enough. The IRA Officer (Kevin Gladish) and Volunteer (Ryan Borque) who bring Leslie in are suppose to be ridiculous, yet they are played a little too close to caricature to add the necessary gravity to take Leslie’s fate seriously. Besides, dedicated assholes like this really exist. Satire allows for characters to hostage4be realistic enough to be recognizable, so that their resemblance jars us to the absurdity of well-worn, politically correct presumptions.

Rom Barkhordar’s interpretation of his role, Monsewer, comes closer to a balance between realism and caricature, perhaps because it is so close to caricature already. Monsewer, an Englishman who fancies himself a patriot to the Irish cause, pretentiously throws around his knowledge of Gaelic and plays the bagpipes badly. Heaven only knows what he is rebelling against, but his show of Republicanism is more a means to an end, than an end in itself, and it is hilarious.

The show benefits mightily from McDonagh, McGough, and Fiffer’s graceful yet rock solid performances. However, Fenton’s portrayal of the endangered British soldier is strangely flat. It’s also not clear whether his Leslie is a Cockney or a recent graduate of Eton. Given Behan’s own allegiance to the working class, such lack of consistency in dialect is a grave mischaracterization.

The cast commits itself completely to the song and dance numbers interwoven into the scenes. Still, I can’t help wondering if the Theater Building space that Griffin Theatre is using doesn’t defeat Jonathan Berry’s direction. Theater in the round might help the fourth-wall removal this play was based on, but dialogue is lost when actors have to turn and direct their address to other sides of the stage. Likewise, sightlines block action from one side of the audience, while the other side may see just fine. The result is a muddled depiction of dramatic action, not necessarily something that brings cast and audience closer.

hostage5 Behan was not interested in dramatically presenting Ireland’s Troubles in a neat and tidy package. War is messy, life is messy, and the ascertainment of who is on your side, who isn’t, and what ought to be done about is fraught with all kinds of doubts, misgivings, and just plain mistakenness. The whorehouse tenants are as loyal to Ireland’s liberty as any, yet they attempt to help Leslie get away. The police raid the bawdy house in order to save Leslie, but get him killed in the crossfire instead.

But if there is a line to be drawn in the sand here, it’s between the intended messiness of the play itself, and the messiness that results when tragic moments are not allowed to be tragic and all necessary contrast is lost. The humor of this play, its jovial ruckus of song and dance, are meant to be temporary relief to the wasteful death and mourning that surrounds these characters’ daily existence. To treat them like simple entertainment, such as we know in a night out to the theater, is to miss why The Hostage was written at all.

 

Rating: ««

 

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Review: Jackalope Theatre’s “Moonshiner”

Jackalope Theatre Sets the Right Period Mood for Moonshiner

Moonshiner

Jackalope Theatre presents

Moonshiner
by Andrew Burden Swanson
directed by Gus Menary
thru Saturday, August 29th (buy tickets)

Reviewed by Paige Listerud

Moonshiner, a world premiere play by breakout playwright Andrew Burden Swanson, has a lot going for it. Under the direction of Gus Menary, its talented cast invests its characters with all the heft and vitality needed to steer what could have been a thoroughly maudlin work toward deeper grounding in American realism. Swanson’s strengths as a young playwright demonstrate the capacity to maintain a strong dramatic arc that builds tension and suspense without sacrificing character development. But perhaps the most inspired choice by Jackalope Theatre Company in setting the play was selecting the EP Theatre space (map) for its second full-length production.

Moonshiner Everything at the EP space contributes to the production’s Prohibition Era atmosphere–from its pressed tin ceiling to the smell of wood to its molded, movie palace faces and, finally, to its lack of air conditioning. So wear light, comfortable clothing, and be ready to fan yourself like a Southern lady, because there is more than enough here to transport an audience back to rural 1930s Tennessee. Special mention goes to sound designer Justin Cyrul for creating the perfect music to sustain the mood.

Carl (Chris Chmelik) and Isaac (Jeremy Khan) are two cousins just getting by in the Depression on Carl’s clandestine rum running and Isaac’s ownership of the house that they live in together. But conflicting forces conspire to tear apart what little they have of family life.

The mercenary Mrs. Cartwright (Patti Roeder) has her eye on Isaac’s property and may think him an easy mark because of his blindness. Her niece Constance (Caroline Neff) spares nothing in warning Isaac of her aunt’s true intentions and Isaac’s blindness merely covers a deeper innate gift all his own. Meanwhile, Carl’s illegal activities meet further complications upon the revelation that the sheriff’s daughter has gone missing.

Menary does a great job enjoining his cast to keep it real. Some of the roles in Swanson’s work are stock Southern characters dangerously bordering on stereotype. So we have Forsythe (James Erico) and Gabbleman (Jim Elder) as the polite, but corrupt and menacing, sheriff’s deputies; Virgil (Wes Perry) as a bit of a Bubba, and Mrs. Cartwright as the typical, hypocritical church lady. What prevents the play from becoming trite is both the direction and the psychological pithiness and humor of Swanson’s dialogue. He shows that he can write characters that go against the predictable grain with Carl’s moonshiner boss, Dwayne (Bill Hyland), and the feisty, independent niece, Constance. The role of Isaac could have devolved into stereotype, but is spared that by an intelligent, deeply humanizing performance by Khan.

But Carl may be the masterpiece of characterization in the play and Chmelik portrays his erotic, troubled, and mercurial nature right up to its suspenseful end. Here is where all the efforts to manifest a cohesive, realist, ensemble work pay off and the entire cast and crew can take pride in their achievement. The only thing lacking over all may be in pacing. The slower lifestyle of the rural South shouldn’t be replicated in dramatic time on the stage.

With action sequences that include fights (fight choreography by Ryan Bourque) and gunfire, you’ve got a play that could very well translate to film. But I hope Swanson keeps his talent in Chicago just a little longer. I also hope Jackalope Theatre’s career is a long one, especially if it keeps producing original works like this one that are “deeply rooted in the American mythos.”

Rating: «««½

Theater Thursday: “The Hollow Lands” at Steep Theatre

hollowlands logo

Thursday, June 25

The Hollow Lands
by Howard Korder
Steep Theatre, 1115 W. Berwyn Ave.

Come to Steep Theatre before the show to enjoy a wine and cheese reception and stay afterwards to meet the cast, director, and designers and partake in the Opening Night celebration. Steep’s special blend of grit, edge, and ensemble work comes to life in this story about America’s early pioneers. Jim, a young Irish immigrant, arrives in New York in 1815 with dreams of boundless freedom, legendary profits, and unseen kingdoms. It is the cost of his 40 year pursuit that becomes more than he imagined. The Hollow Lands, directed by Jonathan Berry, traces a nation’s journey towards its Manifest Destiny and the trail it leaves behind.

Event begins at 7 p.m. Show begins at 8 p.m.
TICKETS ONLY $25
For reservations call 312.458.0722 and mention "Theater Thursdays."

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