Review: Electra and Orestes (20% Theatre Company)

A bloody goth industrial mess

20% Theatre Company presents

Electra and Orestes

Written by Sophocles Adapted and Directed by Melissa Albertario at Evanston Arts Depot, 600 Main, Evanston (map) through May 22  |  tickets: $15-$20  |  more info

Reviewed by Paige Listerud

Revisions of Classical Greek drama perpetually crop up in Chicago’s theater scene—a testament to their power to reach into the core of the human psyche and provoke renewal of perspective. Emotionally impacted by the Columbine Massacres, playwright and director Melissa Albertario sees a dramatic framework in the story of Electra, addressing how youth react to violence, upheaval and emotional anguish. Unfortunately, her newly minted adaptation, Electra and Orestes, produced by Twenty Percent Theatre Company at the Evanston Arts Depot, is so premature for the stage and so rankly amateurish, it runs the danger of provoking more laughter than empathy for the plight of its title characters.

First, there’s the dialogue, which comes across more like leaden imitation than updated reinterpretation or even homage. Incorporating fragmented lyrics from Nirvana’s “Nevermind” and Radiohead’s “Creep” into the play’s choral sections more often than not tinges the production with unintentional silliness.

Add further the conceit that Electra (Mindy Yourokos) is a goth girl warring against her sinister mother Clytemnestra (Clarissa Yearman) and her boy-toy king Aegisthus (Don Markus), not to mention constantly assailing her conformist, goody-two-shoes sister, Chrysothemis (Jackie Normand), for accommodating them and you have a feeble attempt at trying to plaster modern domestic relationships onto an ancient epic is, well, more truly epic than the modern relationships. From the get-go, Electra and Orestes has no sense of proportion; it only follows that its characters will go on and on with their conflicts and protestations, with no sign of any editorial sense of where and when to cut.

Finally, Ashley Ann Woods’ set design looks like the goth/industrial aesthetic threw up all over stage in a desperate attempt to be gritty and hardcore. Top it off with clumsy and often needless projections and what you have is a theatrical mess.

What, then, can be salvaged from an impossibly immature production like this? Well, both Zack Meyer and Benjamin Johnson decently acquit their roles as Orestes and Pylades, respectively–even as their opening scene has them loadin’ up with guns and ammo to assail the House of Atreus. Clarissa Yearman packs some punch as good, old, wicked Clytemnestra, although she looks like Ivana Trump after the Eighties have thrown up all over her (costuming Betsey Palmer).

As for the heroine, Electra, I really wish I could say I cared about her emotional distress and compulsive tendency to engage in self-cutting—but the sluggish dialogue, the drawn out and pointless arguments with Chrysothemis and the Chorus’s ridiculous headdresses make it impossible. Nice goth gown, though. Mind if I borrow it for my next night out at Neo?

Rating: ★

All photo by Laura Oleska

Review: The Servant of Two Masters (Piccolo Theatre)

Piccolo keeps tradition alive and lively

Piccolo Theatre presents

The Servant of Two Masters

Written by Carlo Goldoni Directed by John Szostek at Evanston Arts Depot, 600 Main Street (map) through April 9  |  tickets: $25  | more info

Reviewed by Paige Listerud

There’s something refreshing about returning to good, old, broad physical comedy and farce. No jaded irony or hipster coolness impedes its sheer enjoyment; mad-dash energy and pure silliness carries the story along to its positive, if predictable, end. Piccolo Theatre does The Servant of Two Masters the old-style way, with all the traditional bells and whistles. Take that literally, since benches line the wooden stage, loaded with noisemakers to amplify exaggerated gestures, body movement and wild slapstick typical of commedia dell’arte.

Under the tight direction of John Szostek, Piccolo is determined to give audiences as authentic and bawdy an old-world experience as possible, contrasting charming Italian song from the elegant innamorati (lovers) with the bawdy songs and acrobatic comedy of Truffaldino (Omen Sade). The entire cast acquits their roles with energetic teamwork and enthusiasm, which includes a certain improvisation with Carlo Goldoni’s text. Yet, none are put to the test like Sade–his put upon, wily servant is basically a non-stop cartoon through two vigorous acts. If there is anything to appreciate about Piccolo’s production, it’s the marathon of physical action the players go through for the audience’s enjoyment.

Pantalone (Kevin Lucero Less) is about to marry off his daughter Clarice (Deborah Craft) to Silvio (Glenn Proud), the foppish son of Dottore Lombardi (Joel Thompson). But Truffaldino arrives to interrupt their engagement with news that his master, and Clarice’s original betrothed, waits downstairs. Actually, it is really Beatrice (Denita Linnertz) in men’s dress impersonating her brother, who was betrothed to Clarice before he lost his life in a duel with Beatrice’s lover, Florindo (Tommy Venuti). Disguised, Beatrice simply hopes to complete a business transaction with Pantalone so that she can use the money to find and assist her lover, who fled after the duel. Cross dressing is only one of the delights of The Servant of Two Masters; mistaken identity galore drives most of the plot as Truffaldino signs on to serving none other than—guess who–Florindo when he arrives in town.

Piccolo’s production exults in these old formulas and executes them with verve. Szotsek has obviously encouraged a take-no-prisoners approach to the playing out the various dinner service sketches, swordfights (fight choreography David W. M. Kelch), and a boffo, knock-down-drag-out wrestling match between Pantalone and the Dottore. However, the production delivers charm as well as energy. The simple pleasure of buffoonery – that is the hearty spectacle that Piccolo achieves in its economically tiny space. In doing so, they enliven a great tradition for future audiences.

Rating: ★★★½

 

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REVIEW: Robin Hood: The Panto! (Piccolo Theatre)

Raucous humor amidst the Dark Forest

Piccolo Theatre presents

Robin Hood: The Panto!

Written by Jessica Puller Music by Tyler Beattie Directed by Glenn Proud & Brianna Sloane at Evanston Arts Depot, 600 Main (map) through Dec 18  |  tickets: $25  |  more info

Reviewed by Paige Listerud

You’ve got to hand it to Piccolo Theatre for perennially bringing a bit of wacky English theater tradition to Evanston environs each holiday season. British Pantos are pure, unadulterated silliness. At Robin Hood: The Panto!, expect all the traditional British ribaldry—cheering the hero, booing the villain, and shouting, “He’s behind you!” when our hero is under sneak attack. The real fun of the show is witnessing full-on participation from a typically polite and respectful theater crowd.

Oh—and the Dame (Andrew Roberts)—did I forget to mention that one must whistle and hoot every entrance made by the Dame? Shame on me! Whistle the Dame, everyone, or be known as real drag.

Co-directed by Glenn Proud and Brianna Sloane, Robin Hood: The Panto! is the newly-minted creation of young playwright Jessica Puller, who authored their successful last year’s panto, Perseus and Medusa: or It’s All Greek To Me (our review ★★★). You’d better not expect something like the Ridley Scott or Kevin Reynolds’ versions of the Robin Hood legend—Puller takes a nice big swipe at those.

No, in this version, Robin Hood (Berner Taylor) looks hot in fishnets but has a head the size of a watermelon from all the hero worship he gets from fans and the media. An eager overreacher, Scarlet (Nicole Keating) just wants to be part of Robin’s Merry Men but Robin, Little John (Adam McLeavey) and Alan A Dale (Maxx Miller) never cut her the slack to let her join. Of course, it’s tough when one is constantly outshone and out-thieved by Philip, the Cow (Vanessa Hughes and Amy Gorelow). Rescuing the lovely Maid Marian (Kaitlin Chin) from the deliciously sinister and effete Sir Guy of Gisbourne (Ben Muller) is a weekly event, but this time a trek to The Dark Forest leads Scarlet to discover a magic spell book by which she can rewrite events as she wills.

Piccolo’s production shamelessly rips off “I Love Lucy” and every other old vaudeville bit and joke. When I say old, friends, I mean that, no doubt, many of these jokes and shticks were unearthed from the catacombs. But the cast excels at driving a sassy pace and playing every moment with gusto. What is even more important is the spot-on improvisation and interaction with the audience that they deliver. On opening night, an audience member trying to sneak back into her seat after intermission was greeted with a scathing “Nice of you to join us!” from Sir Guy. But our plucky audience gave as well as they got. Once the Sheriff of Nottingham (Vic May) got turned into a duck from Scarlet’s magic spell book, someone from the audience yelled out “AFLAC!”

Other memorable moments include Noah Ginex’s magic scene and puppetry design, as well as Vanessa Hughes and Amy Gorelow playing the evil spirits of the Dark Forest, busting out a power ballad just like the 1980’s duo, Heart. But the show really is about the pact between audience and players to have a ridiculous, raucous good time. To that end, bring your friends and family. And watch out for the whipped cream.

Rating: ★★★

REVIEW: Low Pay? No Pay! (Piccolo Theatre)

The workers’ sweet revenge

 

Piccolo Theatre presents

Low Pay? No Pay!

Written by Dario Fo Directed by John Szostek at Evanston Arts Depot, 600 Main, Evanston (map) through October 23  |  tickets: $15-$25 |  more info

Reviewed by Paige Listerud

This may be the worst of all possible times to be a banker, broker, or “master of the universe.” Masters of disaster, more like it, since the economic crisis has revealed as never before what a house of cards our financial system has been, what a gambling den deregulation has turned the stock market into, and furthermore, what a perfidious and ineffectual democracy we have in its wake. Into the fray comes Piccolo Theatre with its ribald production of Low Pay? No Pay!, a slapstick comedy by Italian playwright and Nobel Prize winner Dario Fo. Be prepared for Italian socialism on the rocks. Director John Szostek and cast certainly rock it till it pops.

Of course, if you’re a Tea Partier or Rush Limbaugh or you still think that unregulated capitalism is the only cure for what ails us, this may not be your kind of comedy. No, it’s a play for taxpayers looking for a little comic revenge against the capitalist system, even if they’re not so sure about the alternatives. Come one, come all! –to Dario Fo’s manic festival of jibes against financial shell games, irresponsible political parties, battling ideologies and the hysterically desperate tactics of the working poor trying to survive. Oh, and let’s not leave out slams against religion.

Antonia (Brianna Sloane) and Margherita (Amy Gorelow) return home to Antonia’s apartment, laden with groceries. Antonia has just stolen them in a shoppers’ rebellion from the local supermarket. Prices have escalated to twice as high as in the last month and the working class Italian housewives aren’t taking it anymore.

Since a riot has broken out and Antonia and Margherita have gotten away with some of the booty, Antonia has to hide her stash before her law-and-order working class husband, Giovanni (Ken Raabe), gets home. Margherita stuffs her share of food under her coat, creating an all-too-noticeable bump that Giovanni can’t help but notice when he comes home. Antonia lies to her husband, telling him that Margherita is pregnant. But Giovanni cannot understand why his friend and co-worker Luigi (Glenn Proud), who is also Margherita’s husband, would not tell him about the coming baby. Antonia covers further, by saying that Margherita has been hiding the pregnancy from Luigi.

And so it goes. The lies build up, both on Antonia and Giovanni’s part, and the hilarity ensues over characters trying to maintain them. Old formulas, tried and true–but, still, congratulations to Szostek’s well-honed cast. Prepare to see pairings as classic as Lucy and Ethel, Rickie and Fred or, for the guys, Ralph Kramden and Ed Norton. In American terms, Low Pay? No Pay! is “I Love Lucy” meets “The Honeymooners” meets Inspector Clouseau—only this Inspector (David W.M. Kelch) is Italian, is a bit quick with the handcuffs and his mustache keeps falling off.

Ken Raabe reprises his role as Giovanni from Piccolo’s inaugural production. His confidence and expertise with the role shines through. Amy Gorelow’s frustrated and run-around Margherita is a delightful, sweet gal pal to Sloane’s chatty and devious Antonia. Kelch does yeoman-like work in four different roles—my favorites were his Undertaker and Old Man. Proud’s performance as Luigi is as nice a prole as they come. Joel Thompson brings up the rear with his turn as the Inspector’s assistant police officer; only his comic timing could use some refining. Thank goodness he really sells the officer coming out of the closet. Goofy, good-natured fun is the key to Szostek’s direction. As much as upper class institutions and their political lackeys get their comeuppance, the whole cast keeps the comedy light, silly and fast-paced.

Lucky for them, the playwright allows changes in his material in order to keep up with our current events. Only the play’s ending doesn’t translate so well from its Italian origins. That’s because Italy’s social and political reality is not ours; its modern cultural creations could never be an easy fit for Americans who don’t know their history. All the same, these last 10 minutes are more than forgivable for a full two-hours of comic revenge. Piccolo’s revival is well worth that.

Rating: ★★★½

 

REVIEW: The Tragedy of Romeo and Juliet (Two Pence)

A mixed bag at Two Pence Shakespeare

 

Two Pence Shakespeare present

The Tragedy of Romeo and Juliet

Written by William Shakespeare Directed by Tom Wells at Evanston Arts Depot, 600 Main St., Evanston (map) through August 21  |  tickets: $9-$20   |  more info

reviewed by K.D. Hopkins

The publicity materials for The Tragedy of Romeo and Juliet led me to believe that this adaptation was to show the after-effects of war, and how society deals with returning veterans. Such an interpretation of possibly the Bard’s most renowned  work held, for me, remarkable potential – but I saw very little effort to portray a post war mentality. The conflict in most of Shakespeare is universal. There are and will be rivalries and feuds for as long as there is humanity. The civil unrest in Romeo and Juliet comes off here more as a feud or an unfortunate gang war.

In spite of this, It is the actors that make this production spellbinding and fun, despite the tragic outcome. Taking place in a converted train station, the sounds of the Metra pulling in add to the production’s nostalgic setting between the wars.

The tussling between the Capulet and Montague fractions is convincingly vicious and bloody. Daniel McEvilly is absolutely stunning as Mercutio. Some would argue that Mercutio is the most compelling character and McEvilly makes the case in this production. He stalks the stage with a feral presence that gives a razor sharp edge to the gang unrest. The words of Shakespeare sound mellifluent and stabbing all at once. Mr. McEvilly’s Mercutio is profane and fierce; one feels more sadness when he meets his tragic end than at the conclusion of the play when the titled lovers lay dead.

Austin Campion portrays a gentle Romeo with grace and a light touch. Mr. Campion begins tentatively, but then we have to remember that Shakespeare wrote Romeo and Juliet’s characters as youths on the brink of adulthood. This Romeo fights with his buddies against the Montague’s and speaks lustily of girls, but Campion successfully portrays the longing soul beneath the veneer of bravado.

Christa Sablic (Juliet) brings joy and a wonderful colt-like energy to her role. Juliet has been played as a mooning petulant girl for literally 400+ years. Ms. Sablic portrays her as a teenager who falls in love. It’s been a while since I was a teenager but I do remember how ‘he’ was all consuming and all about which I thought. Ms. Sablic plays Juliet as a sensuous young woman who is ripening under the spell of love and, yes, lust.

Another standout in this production is Sherry Legare as Nurse. Ms. Legare adds a compelling comic touch to her role as Juliet’s guardian and conspirator. She takes on the visage of a toddling old nanny with all but the rolled up stockings, seemingly paying homage to Carol Burnett, but with a more muted slapstick take.

Charles Cowen as Juliet’s parent-approved suitor is something out of a 1930’s film drama. His portrayal of all a parent wants for a daughter to marry is spot on. Cowen has a royal posture and perfects the arrogant sneer that one has come to love in the character, versus the tragic hero story.

The rest of the cast performs quite ably, but the rhythm noticeably changes in the speaking scenes with Lady Capulet and Juliet. KC Karen Hill plays Lady Capulet, and she comes off as miscast. Ms. Hill is a beautiful actress, but she projects a speedy energy that is out of sync with the story and the rest of the cast. Part of this is costume and makeup/hair choices – the production’s setting is between the wars that took place in the earlier 20^th century and Ms. Hill is costumed and coiffed for the post punk 90’s.

Andy Baldeschwiler is appropriately stern as Lord Capulet, possessing a very dignified presence and a most traditional Shakespearean-sounding voice. Additionally, Eliza Hofman is fun to watch in two dual male roles. She has excellent comic timing and exudes a nice gangster aura in spite of being quite pretty.

Any adaptation of Shakespeare runs the risk of seeming pompous and out of touch with the times. It is classic theatre, and taught in almost every school as a reading assignment. Getting the rhythm of Shakespeare and having the ability to translate it into universal understanding is what is difficult for a lot of people. Two Pence’s aspirations for creating a post war ambiance falls a little flat and perhaps should have been more conventional with the era costuming and props.

Given the production’s material and groovy performance space, The Tragedy of Romeo and Juliet is an enjoyable evening of classic theatre.

Rating: ★★½

NOTE: For this production, Two Pence has collaborated with the Vet Art Project, and some production proceeds will be donated to the organization. The show is performed at the Evanston Arts Depot, 600 Main Street. This is a cool space in the Metra station and accessible by CTA, Pace and of course Metra. Check out www.twopenceshakespeare.org for tickets and information about the Vet Art Project. The play runs Thursdays, Fridays, and Saturdays at 7:30 pm through August 21^st 2010.

REVIEW: Six Dead Queens and an Inflatable Henry (Piccolo Theatre)

A royal cat fight

 

Piccolo Theatre presents

Six Dead Queens and an Inflatable Henry

Created by Foursight Theatre, UK Devised by the Women of Piccolo Theatre  at the Evanston Arts Depot, 600 Main St. (map) through June 5th | tickets: $15-$20 | more info

reviewed by Keith Ecker 

Though its been more than 500 years since his rule, England’s King Henry VIII still ranks in the minds of many as one of the most boorish and misogynistic men to ever hold the title of head of state. That’s saying something considering we live in a world that brought us the likes of Attila the Hun, Ivan the Terrible and Adolph Hitler. Yet unlike these other wretched men, there’s always been a bit of a whimsical fascination with Bluff Harry from Herman’s Hermits’ “I’m Henry the VIII, I Am” to Piccolo Theatre’s production of Six Dead Queens and an Inflatable Henry.

Originally created by the women of Foursight Theatre in the UK, Six Dead Queens is one part cabaret, one part biography and a whole lot of comedy. It stars the six unfortunate wives of King Henry VIII all forced to spend eternity at a sleepover. Like school-age girls at an overnight, they talk about boys—or rather one particular boy—while poking each other with catty jabs—sometimes in the form of words and sometimes in the form of swords.

The opening scene sets the tone perfectly. As all the women lie concealed under the covers, the silence of the moment is broken by a well-paced series of flatulent outbursts. This dashes any worries that we’re about to be bored by a heady academic romp through history.

Next, each queen is introduced through song. There’s the spicy Spaniard Katherine of Aragon (Amy Gorelow), the beheaded Anne Boleyn (Dani Bryant), little-miss-perfect Jane Seymour (Brianna Sloane), dumb and ugly Anna of Cleves (Leeann Zahrt), the promiscuous Kathryn Howard (Nicole Keating) and the motherly Catherine Parr (Denita Linnertz). The actresses’ multi-part harmony is impressive as is their adeptness with instruments. This talent enhances the humor. What could be funnier than watching the very serious Katherine of Aragon bang out a bass line on an upright?

Characters squabble with one another in catfight fashion. Katherine of Aragon and her successor Anne Boleyn, whom the King tried to court behind Katherine’s back, row as do Boleyn and her successor Jane Seymour, whom bore the King his only son, Prince Edward.

There’s also ample ganging up. Anna of Cleves gets it the worst, bearing the reputation of being ugly and foul smelling. Her marriage with the King lasted a brief six months, which in the judgmental eyes of the other ladies, makes her inferior.

The play lacks any sort of cohesive plot. Instead, it plays as a series of monologues, musical numbers and sketches. It’s effective for about an hour. But by the end, Six Dead Queens runs out of any new ground to cover.

The actresses all deliver outstanding performances. Through vocal inflection, mannerisms and personality ticks, the women bring to life six unique individuals with completely separate personalities. In addition, the roles call for a sweeping spectrum of dispositions from slaphappy to somber. The performers are able to make the switch effortlessly.

Six Dead Queens is an entertaining intersection of academia and vaudeville. At times uproariously funny, at times remarkably sad, the piece successfully explores how competitiveness can make women their own worst enemies, how comfort can make them their own saviors and how men can be pigs.

Rating: ★★★