REVIEW: Dream of a Common Language (Prologue Theatre)

   
   

Must good-girl painters always finish last?

 

 

Clovis at the wall w Victor, Pola, and Marc (high def)

   
Prologue Theatre presents
    
Dream of a Common Language
     
Written by Heather McDonald
Directed by
Margo Gray
at
Oracle Theatre, 3809 N. Broadway (map)
through Nov 18  |  tickets: $16-$18   |  more info

Reviewed by Paige Listerud

Of what value are women’s gifts? What value are women’s talents, women’s work, or the creativity of women? These are the questions Heather McDonald’s play, Dream of a Common Language, focuses on. No amount of armchair theorizing about women’s critical place in cultural creation can erase the reality that women’s abilities, talents and artistic perspective often get placed at the low end of the hierarchy. Men’s creativity, like men’s work, is invariably classed above the creativity executed by women—and often because men are the judges of what is or is not art.

Clovis and the Train (high def)Director Margo Gray and Prologue Theatre struggle mightily against the restrictions of Oracle Theatre’s space and their own low-budget difficulties in order to carry off McDonald’s impressionistic language and scene structure. Unfortunately, serious lack of vision in doing more with less handicaps the execution of this play’s impressionist style. Especially in the first act, cumbersome, start-and-stop scene changes and awkward, unnecessary puppetry dooms this show to fits of embarrassing amateurism.

That’s really too bad, because Gray has collected a cast that capably teases out the delicate moods and emotional shifts that sculpt McDonald’s focus. Clovis (Carrie Hardin), a woman painter, suffocates under not having her painting taken seriously, as well as the stifling proscriptions of her new role as wife and mother in the mid-19th century. Victor (Michael John Krystosek), her husband, also a painter, is at a loss to understand just what is bothering her. Consumed with planning a dinner to organize an exhibition that will feature artists rejected by the establishment, he fails to see how leaving women artists out of the dinner, and out of the exhibition, disturbs his wife. Her long-time friend and fellow woman artist, Pola (Lara Janson), arrives by bicycle in time to lift Clovis’ spirits. Together with the housekeeper, Delores (Hayley L. Rice), the women stage a revolt. They hold a dinner of their own with food stolen from the men’s dinner.

Hardin is most expert in making the audience palpably feel Clovis’ pain. Shakiness and uncertainty plague Clovis’ attempts to re-establish herself, to find the core of who she is and not be swayed by the roles that have been scripted for her as a woman. We sense Clovis’ uneasiness of self and appreciate her struggle to define just what it is that bothers her. Alex Knell turns in an accurate and natural performance as her neglected son, pushed to the side because Clovis cannot accept her restrictive motherly role.

Clovis and Victor - Touch Me (high def) Clovis Poses Victor

Janson’s performance as Pola aptly contrasts her ruddy mental and physical health with Clovis’ shakiness. However, Janson’s constant good nature contradicts all indications that her character is not totally happy–a little more nuance could let the audience catch her frustration at being reduced to painting flowers, just like “all the good-girl painters.” The appearance of Marc (Les Rorick) kicks up the stakes, both because of the secret affair he’s had with Clovis and because Rorick captures a good, full-bodied 19th-century character within a few lines.

Other performers took more time to warm to their roles on opening night, but it’s difficult to discern whether that is their particular dilemma or the direction. Whatever the source, the cast finally congeals into a cohesive, lively and idyllic whole in the second act, sans scene changes and, mercifully, sans puppets. The restoration of Clovis’ self and her relationship with Victor delicately evokes real wonder and profound beauty.

If at all possible at this juncture, it would be wise for Gray to revise her direction for the first act. Flow from scene to scene is needed to preserve McDonald’s impressionist intent. Furthermore, shadow puppets and other forms of puppetry really should be saved for the budget and expertise to do them well. If the intent was to create a more dreamlike, childlike state, then McDonald’s language alone, as well as the energetic game playing of the women in the second act, connect us to the creative children in these characters. What other accoutrements are needed? Absolutely none.

 
   
Rating: ★★½   
   
   

Centaur in the Garden (high def)

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Review: Point of Contention’s “The Wonder: A Woman Keeps a Secret”

Hilarity Truly Ensues in Point of Contention’s

“The Wonder: a Woman Keeps a Secret”

Point_of_Contention_The-Wonder

Point of Contention Theatre presents:

The Wonder: A Woman Keeps A Secret

by Susanna Centlivre
Directed by Margo Gray
Running thru August 26th (buy tickets)
Location: BoHo Theatre at Heartland Studio (map)

Review by Paige Listerud

This is what Chicago’s theater scene is all about: around a corner, in a little space one could easily pass by, a small theater company is doing great things. Director Margo Gray has assembled a lively and gifted cast for Point of Contention’s production of The Wonder: a Woman Keeps a Secret. This 18th century play by Susanna Centlivre, considered second only to Aphra Behn in her time, receives light and fast modern flare, while staying true to its ribald, audacious, and feminist origins. Step into that little black box–an evening of 295 year-old fun awaits you.

Set in colonial Brazil, the clever and virtuous Violante (Megan Faye Schutt) hides the daring Isabella (Lisa Siciliano) who has escaped from her father, Don Lopez (Jeff McLane), to keep from being married against her will for money and station. Trouble is, Violante is also in love with Isabella’s brother, Don Felix (Jason Nykiel). Every attempt to keep Isabella’s secret and help her on to true love puts Violante’s relationship with Don Felix in jeopardy. Her intrigues on Isabella’s behalf spark Don Felix’s suspicions, manly pride, and jealousy, and could ruin her own chances at happiness.

Of course, even given all the intrigues and mishaps between principle players, the bawdiest comedy comes from the servants; each player cast in these roles invests them with vigor, relish, and imagination. Ready for a three-way? Don Felix’s servant Lissardo (Justin Warren) certainly is–and attempts to negotiate between his dalliances with Isabella’s maid, Inis (Morgan Manasa) and Voilante’s maid, Flora (Hayley L. Rice). Warren skillfully wrings laughs out of every situation. Of course, he’s lucky; he has lines like, “Methinks I have a hankering kindness after the slut.” Drunken carousing with the Scotsman Gibby (Eric S. Prahl), servant to smooth Colonel Britton (Sean Patrick Ward), is a surefire way to pass the time while the girls’ tempers cool down.

Jeff McLane’s anxiety-ridden and compulsive Don Lopez is nothing short of hilarious. Point of Contention may want to put a ball and chain on him to keep him from getting away. Morgan Manasa does quadruple duty bringing bright, distinctive comic turns to each role she plays. Rice’s Flora is the perfect hearty, buxom foil to Schutt’s vivacious, intelligent Violante. The feminist moments of the play are enjoyable because the expressions of loyalty and boldness between women occur naturally within the context of the women’s choices.

As for the guys, where did POC find these smart, good-looking men—I mean, actors? Seriously, it’s impressive to see a work like this taken on and cast so evenly. Brett Lee’s Frederick is such a solidly good guy that one’s heart breaks in the end when he’s the only character who isn’t hooked up with anyone. Is it too late for a rewrite?

One soft spot remains, which could be worked out in the course of the run. In the second act, a relatively long scene between the two principle lovers, Don Lopez and Violante, shifts from romantic quarrel to reconciliation to comedic free-for-all over Felix’s reawakened suspicions. Schutt and Nykiel have not quite mastered the transitions between romantic moment and farce, which would be an essential skill for any 18th-century leading comic actor.

Special nods go to set design (Amanda Bobbitt and Allyson Baisden), lighting design (Brandon Boler), and costumes (Carrie Harden). This company follows the principle of doing a lot with a little. The ability to suggest colonial Brazil with precise touches and avoid drowning the cast in stuffy frippery must be commended.

Rating: «««½