Review: The Voodoo Chalk Circle (State Theatre Chicago)

  
  

Brecht adaptation successfully unearths New Orleans of old

  
  

Sarah Addison Ely, Ellenkate Finley, Alexis Randolph, Genevieve Lally-Knuth in a scene from State Theatre's 'Voodoo Chalk Circle'

   
State Theatre presents
  
The Voodoo Chalk Circle
  
Adapted by Chelsea Marcantel
Based on the original play by
Bertolt Brecht
Music by
Chris Gingrich and Henry Riggs
Directed by Tim Speicher
at the Viaduct Theatre, 3111 N. Western (map)
through May 8  |  tickets: $10-$20  |  more info

Reviewed by Jason Rost

There was a unique and fascinating collaboration that occurred between two small theatre companies this year. The “Full Circle Festival” may have unfortunately fallen off the radar for many theatergoers; however, it began with Theatre Mir’s powerfully resonant production of Bertolt Brecht’s The Caucasian Chalk Circle (our review ★★★★). Now, the State Theatre has given us the wonderful opportunity to revisit this story in a new light with Chelsea Marcantel’s New Orleans set adaptation, The Voodoo Chalk Circle. Marcantel has been an up and coming playwright in Chicago for a few years, and this may be her most ambitious and successful endeavor to date. Tim Speicher’s intelligent and creative direction creates a captivating visual and aural experience that is heavy on theatrics and light on political Brechtian alienation. After experiencing Theatre Mir’s substantial production, this abridged retelling is a fresh and exciting compliment.

A scene from State Theatre's 'Voodoo Chalk Circle'Before the play begins, the multi-talented Nick Demeris warms up the crowd as a street performer, similar to those that frequented the tourist areas of pre-Katrina New Orleans. We are then catapulted into a pre-hurricane New Orleans by our narrator, Josh Hambrock. He introduces us to Grusha (Ellenkate Finley) on her 21st birthday, which is being celebrated at a downtown nightclub on the eve of an encroaching hurricane. As opposed to Brecht’s Grusha, who is the servant to a governor, Marcantel perfectly casts her as the servant to the mayor of New Orleans’ wife, Nathalie (a strong performance by Jodi Kingsley). Playing her opposite is Simon (Caleb Probst), who proposes marriage on that evening. After her night out, Grusha returns to the boarded up mansion where she resumes her duties as the surrogate mother to the infant son, Michael, of the neglectful mayor’s wife.

And then there’s the storm. Speicher and music director, Chris Gingrich create an ingenious cacophony of sound, utilizing the evocative Sound Chorus. Combining crashing sheets of metal, jugs of water, wind vocalizations and drumming, the sense of calamity is created magnificently. During the post-storm, Grusha, along with Nathalie’s forgotten baby, flee for the suburbs of the North Shore seeking refuge with her sister. Instead, she finds what is essentially a Voodoo commune living in the ruins. They have rendered rebuilding pointless and have embraced the ways of “the old.” Their leader is the morally ambiguous Baron Samedi (played by Mark Viafranco with remarkable physicality and dexterity). Her sister does finally appear, now reborn into this ancient religion as Erzulie (Cara Olansky). Olansky is compelling in her performance as a woman who has lost everything and has turned, as often people do after traumatic events, to religion. However, Olansky gives us glimpses of loss and grief behind the stone face of a religion that celebrates the eternal, rather than mourns death.

Although engaged to Simon, Grusha agrees to be wed for security reasons to Zeke (Zachary Kropp), a man who appears to have been crippled from a roof collapse. Kropp gives a somewhat unconvincing performance, and the true motives of the character remains vague. However, for utilitarian purposes, the character serves the plot well during Simon’s discovery of Grusha living a life he had not expected to find her in. The final chalk circle scene remains faithful to Brecht’s original text, yet is modified just enough to allow for the ending to carry a certain element of surprise.

While there is strong acting and talent throughout, the casting could benefit from more diversity in ethnicity and age to truly provide the authenticity of New Orleans. Overall, the cast plays slightly on the younger side for a play focused on old traditions. Nevertheless, formidable performances are given by Finley and Probst. Hambrock is engaging as part Our Town Stage Manager: floating in and out of the world of the play, omnipresent, setting scenes and introducing characters—and part Orson Welles in The Third Man: revealing his true function as the judge of morality only in the final act, playing Brecht’s “walking contradiction”, Azdak.

Marcantel’s script is entirely worthy of this fine production. She has found an appropriate contemporary setting for this story and carries the action briskly with high stakes. She perhaps misses an opportunity to connect to Brecht’s original play further due to the fact that she treats the hurricane solely as a natural disaster without examining the political catastrophe in the city more in depth. Whereas Brecht’s war of rebellion was more concerned with the manmade cycle of oppression and corruption, the hurricane in Marcantel’s adaptation is rather “Oz-ian”, a dramatic tool in the form of a catastrophe turning the world upside down. I was also left wondering why Marcantel goes to great authentic lengths in setting this story richly in New Orleans, yet never quite goes as far as referencing New Orleans, Katrina or any other specifics directly. It’s possible some immediacy was lost with this decision. Her dialogue is best in the earlier sections of the story discussing class struggles and Voodoo practices, but falls slightly flat in the oversentimentality of the Grusha and Simon love story.

In the end, it is Speicher’s concept, the emergence of the past from the ruins of modernity, which makes this play a must-see. He truly understands the ritualistic nature of Marcantel’s setting. Gingrich and Riggs’ music is a driving force of nature throughout the play. The Sound Chorus serves as the spiritual voice and heartbeat of old traditions made anew. Shaun Renfro’s set design condenses the action to an intimate section of the barn-like Viaduct space by the use of hundreds of cardboard boxes, reminiscent of essentials that were airdropped to Katrina survivors. In addition, Renfro creates an ingenious playground of set pieces that allow for interaction with the actors. Taylor Bibat’s shadow puppetry represents the concept perfectly by providing an ancient theatrical tradition as opposed to video projections.

The final monologue Marcantel writes for Azdak is poetic and resonant stating, “It’s hard to see how everything comes together, until everything falls apart.” While this production soars, I am left hoping that Marcantel may continue to develop the script into a full adaptation finding more parallels and urgency in the injustice that occurs in the aftermath of natural disasters. It is of high compliment that I wished to spend even more time with these characters and in this world Marcantel has transplanted them to—nevertheless, it is immediately an important piece of theatre this season that should not be overlooked.

  
  
Rating: ★★★
  
  

The Voodoo Chalk Circle presented by State Theatre Chicago

The Voodoo Chalk Circle continues at The Viaduct through May 8th, with performances Thursdays, Fridays, and Saturdays at 7:15pm and Sundays at 3pm. Running time is 1 hour and 45 minutes with no intermission. Tickets are $10-$20, and can either be purchased online or by calling (773) 296-6024.  For more information, visit www.statetheatrechicago.com.

The Voodoo Chalk Circle is part of the “Full Circle Festival” in collaboration with Theatre Mir to provide audiences with two uniquely different versions of Brecht’s The Caucasian Chalk Circle. The State Theatre closes the festival following Theatre Mir’s production of The Caucasian Chalk Circle directed by Jonathan Berry.

 

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REVIEW: Dr. Jekyll and Mr. Hyde (Theatre-Hikes)

Exploring good and evil in the great outdoors

 

Theatre-Hikes - Dr. Jekyll and Mr. Hyde005

  
Theatre-Hikes presents
   
Dr. Jekyll and Mr. Hyde
   
Written/Adapted by Jeffrey Hatcher
Based on novella by
Robert Louis Stevenson
Directed by
Bradley Baker
at
Morton Arboretum, 4100 Illinois 53, Lisle (map)
through October 31  |  tickets: $13-$19   |  more info

Reviewed by Allegra Gallian

Dr. Jekyll and Mr. Hyde, adapted by Jeffrey Hatcher, is based on the original novella “Strange Case of Dr. Jekyll and Mr. Hyde” by Robert Louis Stevenson. Both the play and the original work explore the fine lines between good and evil and what those characteristics can do to a man.

The Morton Arboretum sets the scene for the Theatre-Hikes production of Dr. Jekyll and Mr. Hyde. The vast outdoor space leaves plenty of room for the actor’s personalities to shine through. With the leaves of the trees changing and the wind Theatre-Hikes - Dr. Jekyll and Mr. Hyde014 rustling through the fallen leaves, there is a unique and apt ambience that surrounds both the actors and the audience. Although it was a little chilly, once the action began it no longer seemed to matter.

Jekyll/Hyde opens on the main characters finding Dr. Jekyll unconscious which leads to flash backs exposing the chain of events leading to Jekyll’s current state. The story unfolds through journal entries, police reports, notes and other writings from the main characters. To begin, two of Jekyll’s friends, Richard Enfield (Zach Bloomfield) and Gabriel Utterson (James Stanton) discuss a peculiar occurrence witnessed and how the man involved is related to Jekyll. The play opens rather strongly, setting a good tone for the rest of the performance. Energy levels are high and stay high throughout the two-hour run of the show. It’s also clear that the actor’s work with their dialect coach, Allison Reinke, has paid off because their accents effortlessly transport the audience back to London in 1883.

The two men meet with Dr. Jekyll (Dan Toot) and discuss the event only to find out the man involved; Mr. Hyde (played at various times by James Stanton, Zach Bloomfield, Geoff Crump and Ellenkate Finley) is an acquaintance of Jekyll. Toot offers up a calm demeanor with Dr. Jekyll and creates an authentic presence on stage. He gives off a confident and intellectual air, as one expects from a doctor.

The character of Mr. Hyde, although played by aforementioned actors throughout the course of the play, is mainly played by Geoff Crump. Crump also does the best job of portraying the terrifying and menacing Mr. Hyde. It’s never quite clear why four actors have been cast to play this one character, for although the others did a fine job, in the end they pull focus from Crump, who proves to be the most devilish and mysterious of them all.

Theatre-Hikes - Dr. Jekyll and Mr. Hyde012 Theatre-Hikes - Dr. Jekyll and Mr. Hyde016
Theatre-Hikes - Dr. Jekyll and Mr. Hyde023 Theatre-Hikes - Dr. Jekyll and Mr. Hyde015

Continuing on, the play continues to tell the parallel stories of Jekyll and Hyde. Mr. Hyde meets a woman, Elizabeth Jelkes, (Amanda Presz) and they fall in love. Despite all the bad he has done and that he inherently is, she loves him. However, their first meeting is a frightful one when Hyde pulls a knife on her. Unfortunately, the feelings of fear and raw emotion could have be taken further in the beginning – it doesn’t feel like a genuine fear or evil. That being said, as the show progresses, Presz and Crump get in synch with their characters, creating a much more realistic portraits; pulling the audience into the action.

Theatre-Hikes - Dr. Jekyll and Mr. Hyde028As we learn more about the dichotomies between Jekyll and Hyde, it becomes increasingly captivating. All the actors do a terrific job of keeping the audience in the  moment.  Thus, when a scene ends and the audience must move to the next scene location (the hike part of Theatre-Hikes), there’s a moment a surprise at being taken out of the action on stage. Once settled, the actors are able to jump right back in and immediately the audience is, once again, lost in this fantasy world.

Bloomfield, who plays several parts throughout (Sir Danvers Carew, Richard Enfield, O.F. Sanderson, Inspector, Hyde 2) does a wonderful job of switching between them. The characters come off different and unique, which is important. As Jekyll, Enfield, Utterson Toot, Bloomfield and Stanton have good stage chemistry, and it’s definitely believable that they are old friends or colleagues.

As Dr. Jekyll and Mr. Hyde concludes with its final scenes, Crump as Hyde (3) really comes into his element. He pushes his character to its limits, creating depth and a large character arch, making for an overall enjoyable production.  What better way is there to see a top-notch performance AND get a workout all at the same time?!!

   
   
Rating: ★★★
   
   

Theatre-Hikes - Dr. Jekyll and Mr. Hyde021Dr. Jekyll and Mr. Hyde plays at the Morton Arboretum through October 31. Tickets are $13 to $19 and can be purchased through the Theatre-Hikes website.

       
     

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REVIEW: Peter Pan (Theatre-Hikes)

 

A fun time for all in Never Never Land

 

 Peter and Hook Fight A

   
Theatre-Hikes presents
   
Peter Pan
   
Written by J.M Barrie
Directed by
Lavina Jadhwani
at The Morton Arboretum, Lisle, IL  (map)
through August 29th  |  tickets: $8-$19  |  more info

reviewed by Allegra Gallian

Wandering through the paths of the Morton Arboretum in Lisle, IL, a boy suddenly emerges from behind the trees, crowing and dancing around with his shadow. A proper young girl sits with her brothers as they listen to their mother’s stories. Pirates run through the grass in search of the boy who can fly. Produced by Theatre-Hikes, this outdoor production of Peter Pan or The Boy Who Wouldn’t Grow Up, the beloved children’s story by J.M. Barrie, takes the notion of Never Never Land to a new level.

The DarlingsPeter Pan opens on the Darling family. Mr. and Mrs. Darling are getting ready for a night out while the family dog, Nana takes care of the children, Wendy, Michael and John. After the children are fast asleep, Peter Pan enters their room to retrieve his lost shadow. Waking Wendy with his crying, she sews Peter’s shadow back on for him and in return he teaches the Darling children to fly.

The arboretum provides a stellar background for Peter Pan. After starting in the pavilion transformed into the Darling house, the audience literally travels with Peter past the second star to the right and straight on to Never Never Land. While walking from scene to scene, the audience becomes involved in the production, creating additional atmosphere and heightening the magic that’s occurring. All the arboretum’s a stage – a stage to be used at the actors’ disposal as Peter flits and flies around, the lost boys rally and Wendy puts them all to bed under the sky.

With such a huge performance space, the acting must really stand out, and for the most part it does. Peter Pan (Kaelan Strouse) is youthful, vibrant and full of energy. The moment Strouse enters, his child-like enthusiasm becomes infectious, connecting him to both his fellow actors and the audience. Although Strouse takes his acting a bit too over-the-top at times, he has a clear sense of character and knows exactly who Peter is.

Back in Never Never Land, Peter introduces Wendy to the lost boys and she becomes their honorary mother. Wendy (Allison Schaffer) is adorably naïve and Schaffer’s potrayal of a little girl trying to mother unruly little boys is quality work. She could take her characterization farther at a few points, but overall she’s strong in her conflict between missing her parents and leaving Peter. Kylie Edmonds stands out as Slightly, one of the lost boys. Her performance feels genuine and it’s clear she has put in the effort to figure out her character’s back story, allowing Edmonds to step out at a higher level than the rest of the group. The cast is rounded out by Ellenkate Finley as Tootles and Anne Sears as Curly.

Lost Boys, Smee and Hook

It’s not all fun and games in Never Never Land with pirates prowling about. Captain Hook (Andrew Pond) is Peter Pan’s rival, and has made it his mission to capture and kill the boy. Pond’s portrayal of Hook is more jovial than it is menacing. And while this is children’s theatre and Hook can’t be overly scary, there’s not enough differentiation between his character as Hook and his character as Mr. Darling. (Traditionally, the same actor is cast in both roles). Because of this, Hook isn’t as believable as other characters. Pond does, however, have a way with a sword, and the fight choreography by Dwight Sora following Hook’s capture of Wendy and the lost boys is thrilling to watch.

Hook’s first mate Smee (Zach Bloomfield) successfully offers well-timed comic relief. Playing both the parts of Smee and Nana, Bloomfield hilariously delivers his lines (even the ones he barked) and keeps the tone light and the audience entertained.

For all that’s good about this show, the costuming by Sarah Haley lacks. The choices are understandable and suit the characters, but some garments look more like homemade Halloween costumes than costumes for a professional theatre production.

Overall, the actors do well against the many opposing elements created by an outdoor space. Fighting the rain and bugs, they adapt to a full pavilion staging, they speak up and enunciate against a strong breeze and they play off the smaller children in the audience who yell things out during the performance. Because there’s no backstage, Peter Pan becomes interactive at points, allowing the kids in the audience to get a special experience by letting them speak and play with the actors during scene changes. Peter Pan is a fun show for people of any age with its lively energy that flows well, and the two to two-and-a-half hours of performance fly by as fast as Peter Pan himself. (FYI: Don’t forget your bug spray!)

 

  
   
Rating: ★★★
   
   

The Morton Arboretum is located at 4100 Lincoln Ave., Lisle IL and Theatre Hikes begins at the Thornhill Center on the west side of the arboretum. Peter Pan runs Saturday and Sunday through August 29 at 1:00 pm. Tickets are $12 (arboretum members) or $19 (non-members) adults, and $8 (members) $13 (non-members) for children. Note: Sunday shows are low-impact hikes designed for strollers and/or wheelchairs, with the hike going less than one mile.  (FYI: Don’t forget your bug spray!)

Peter and Audience

 

 

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REVIEW: J.B. (Chicago Fusion Theatre)

The Agony of Job for the (Post)Modern Human

 Zuss and Nickles

 
Chicago Fusion Theatre presents:
 
J.B.
 
by Archibald MacLeish
directed by
Emma Peterson
at
Oracle Theatre, 3809 N. Broadway (map)
through April 18th (more info)

reviewed by Paige Listerud

There is any number of reasons why theater companies, particularly young ones, would shy away from Archibald MacLeish’s Pulitzer Prize winning play J.B., produced by Chicago Fusion Theatre on Oracle Theatre’s stage. As a modern retelling of the Book of Job, the play easily becomes too much of a muchness. Too much loss . . . too much pain . . . too many unsatisfactory answers only begging the question “Why?” But then, consider the late 1950s, in which MacLeish wrote J.B., and the play’s Nickles, J.B. and Sarahhyperboles of pain and suffering are all too appropriate. In fact, compared to the ugly realities of that time they’re not even hyperbole.

A Frenchman once said, of the horrors of the French Revolution, that it had “destroyed all hyperbole.” The terror of the French Revolution could be multiplied exponentially with regard to World War II and its aftermaths. Look at the numbers alone: the deadliest conflict in recorded human history with 50-70 million dead. Tack onto that deaths resulting from the refugee crisis after the war due to the expulsion of 3 million Germans from Eastern Europe – the received retribution for Nazi atrocities whether they had supported the Third Reich or not.

Consider 6 million Jews dying in the Holocaust; then imagine the survivors of those death camps not being able to return to their original homes—compelled to face starvation and disease in overrun refugee camps. Recall that anti-Jewish pogroms took place in Poland, Lithuania, Romania, and Hungary both during and after the war.

Or consider the campaigns of wholesale rape of women and girls carried out by the advancing Red Army, “liberating” Eastern Europe from Nazi rule.

Consider the bombings of Hiroshima and Nagasaki; then check out the testimony of Tsutomu Yamaguchi, who survived both bombings. It reads like every zombie-horror-sci-fi nightmare rolled into one. Other survivors of the atomic blasts were reduced to “ant-walking alligators,” men and women who

“ . . . were now eyeless and faceless—with their heads transformed into blackened alligator hides displaying red holes, indicating mouths . . . The alligator people did not scream. Their mouths could not form the sounds. The noise they made was worse than screaming. They uttered a continuous murmur—like locusts on a midsummer night. One man, staggering on charred stumps of legs, was carrying a baby upside down.”

A charnel house, a charnel house—but do I belabor the point? Does Archibald MacLeish belabor the point in J.B.? Does the hero Job/J.B. belabor the point? Or, to recall Alfred Hitchcock, is there only so much reality that anyone can stand? Does religion or philosophy or science—or theater—help? Does bringing an audience within an approximate distance of trauma or horror, accompanied by its lurking associate, meaninglessness, really help a people face real world traumas, horror, or senseless suffering?

Mr. Zuss and Nickles Mr. Zuss, J.B. and Sarah

But wait, there’s more. One thing this production’s entire cast conveys to perfection is the deep cynicism of MacLeish’s play. That cynicism was born, not only of atrocity piled on atrocity, but also all the paranoia and hypocrisy of the McCarthy Era. That adds another toasty layer to the proceedings.

Who can argue with cynical Mr. Nickles (Virginia Marie), a circus performer who plays the Devil–aka ha-satan–opposite Zuss (Sandy Elias) the calm, sensible believer in the human spirit who takes on the role of God? Their dispute over their respective roles, as well as J.B.’s progress, lends choral and deconstructive depth to MacLeish’s play. We can thank our lucky stars for such solidly paired actors to guide the audience through this story. Why, in their hands, God and the Devil are like two competing superpowers, carrying out their proxy war on the territory of J.B.’s life.

J.B. (Jason Economus) and his wife Sarah (Natalie DiCristofano) form the show’s other solid pair. Economus excellently conveys J.B.’s unpretentious good-guy vitality through MacLeish’s heightened language. The speed bumps show up, though, when he has to switch from MacLeish’s language to lines pulled directly from the Bible. I myself have issues with MacLeish’s language—Pulitzer Prize or not. Sometimes the simple, clean power of lines from the Book of Job put his dialogue to shame.

J.B. Image But, without belaboring that issue, it’s quite clear that MacLeish knows his Job–yet another reason why J.B. won’t entertain everyone. Any audience might do well to read up on Job themselves, the more commentary the better. J.B. is a talkie, talkie, talkie play. When three wise men (Austin Campion, Josh Blankenship, and Alex C. Moore) visit the ruined and abandoned J.B., they almost overwhelm him—and us–with bankrupt philosophical dialectic. Still, there is salvation in all this verbiage. As Sarah, DiCristofano humanistically depicts a mother’s ruthless conviction over the deaths of her children, opposing God Himself as much as J.B.’s God-talk. Yet, in their reunion at the end, her performance reveals depths of redemptive grace.

Emma Peterson’s direction creates the circus atmosphere that frames and informs this play’s storytelling, deftly sustaining its controlled chaos. In fact, the dance movement that builds to J.B.’s encounter with the Almighty compels recollection of lines from the Bhagavad-Gita—the same ones that popped into J. Robert Oppenheimer’s head during the first test of the atomic bomb: “Now I am become Death, destroyer of worlds.” That scene alone is worth the price of admission.

Oscar Wilde once said, “The critic has to educate the public; the artist has to educate the critic.” Well, Chicago Fusion Theatre Company has educated me. Indeed, they have schooled me and wowed me with their production of this long forgotten masterpiece. By celebrating their achievement, I celebrate a city in which a small theater company will take a chance on a difficult play like this and boldly, fully, humanely realize it.

 
Rating: ★★★½
 

Nickles, J.B. and Sarah 

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