Review: Three Days of Rain (Backstage Theatre)

        
        

Another memorable production from Backstage

  
  

Rebekah Ward-Hays & John Henry Roberts - Three Days of Rain

   
Backstage Theatre Company presents
       

Three Days of Rain

  
  
Written by Richard Greenberg
Directed by Matthew Reeder
at the
Viaduct Theatre, 3111 N. Western (map)
through June 25  |  tickets: $10-$22  |  more info

Reviewed by Jason Rost

We are often fascinated by the story of who our parents were before they had children since it is essentially how we came to exist. It helps us understand the lives of the most influential people in your life, and it guides us in our own quest for love and self definition. This idea played a large role in Backstage Theatre Company’s Memory, their impressive first play of their season. Other times these stories, as is the case in Richard Greenberg’s Three Days of Rain (known to many theatergoers as the play Julia Roberts flatly debuted in on Broadway), can be a great mystery to obsess upon for years. The overriding mystery is what binds six fascinating characters together played by three actors. Artistic Director Matthew Reeder’s direction in this Backstage production is strikingly human, intimate and traipses through these characters’ lives like a lone jazz trumpet traveling through time accompanied by well-suited recordings of Miles Davis doing the real thing.

Rebekah Ward-Hays & Tony BozzutoIn present day downtown Manhattan (or maybe more so the mid-90’s if you really do the math on years referenced) we meet Walker (John Henry Roberts) in a sparse spacious apartment. He is intellectual, searching and a narcissist. After disappearing in Italy his family had thought him dead. More specifically, his sister Nan (Rebekah Ward-Hays) and his old friend Pip (Tony Bozzuto) thought so. Upon finding his recently deceased father’s journal, Walker attempts to decipher the cryptic seemingly commonplace entries. Walker believes that his parents “married because by 1960 they had reached a certain age and they were the last ones left in the room.” Nan struggles with Walker’s return and his obsession with their father’s journal. Pip, a soap-opera star, has history with Nan, and Walker was – or still is – in love with him, causing interesting tension when any combination of the three of them is on stage.

Walker and Nan’s father Ned (also played by Roberts) was a great architect, or at least built one impressive house. Pip is the son of their father’s partner, Theo. In the second act Bozzuto, Roberts and Ward-Hays all take on the roles of their parents in the 1960’s. Greenberg’s writing is smart in how it takes certain words or phrases you hear in the first act and sprinkles them in the second act, showing you the roots of these ultimately poetic characters in linguistic parallels. We bear witness to all that Walker, Nan and Pip could not possibly know even if the stories were retold or handed down. They would have changed as all stories do through the course of history. Nevertheless, a few small words which Ned (Walker and Nan’s father) writes down carries all the weight in the world for each character involved in this play. Even if the meaning of those words died with Ned, they still have impacted the lives of these people profoundly whether the truth is known or not.

The performances of these six difficult characters to play are worthy. The hurdle is portraying two different characters that are clueless to what the other knows and yet finding the connection between them. John Henry Roberts was stiff at times on opening night and hit an occasional false note as Walker at first, but he eventually relaxed into the role and became fascinating during the ritual that ends the act. As Walker’s father, Ned, he brings a very different character to the stage that is vivacious and electric to watch. Ward-Hays is magnificent in her balance of anger and love as Nan, and then in her dreamier and more sexually charged performance as Lina. Bozzuto is dynamic displaying an exciting capability for detailed physical choices.

          
Tony Bozzuto & John Henry Roberts in Backstage Theatre's "Three Days of Rain" by Richard Greenberg. (photo: Hays)  Rebekah Ward-Hays & Tony Bozzuto in Backstage Theatre's "Three Days of Rain" by Richard Greenberg. (photo: Hays)
Tony Bozzuto in Backstage Theatre's "Three Days of Rain" by Richard Greenberg. (photo: Hays) Rebekah Ward-Hays & John Henry Roberts

Reeder makes a brilliant choice opening the second act by allowing the characters of Theo and Ned to spend the first couple minutes transforming the space in front of our eyes, bringing life into the abandoned apartment and turning it into an invigorating Manhattan architectural workspace of the 1960’s. It’s the same apartment as in the first act, but the makeover of the room is akin to time travel. Brandon Wardell’s set fills the Viaduct space perfectly, and his lighting on the windows does wonders to create the ambiance of the physical and emotional setting.

Greenberg’s non-linear storytelling is thought-provoking as only we, the audience, know the true gravitas of the words, “Three days of rain,” which Ned enters into his journal. However, perhaps this is the nature of history; it can never be retold exactly, nor needs to be. Walker and Nan come to their own necessary closure with their parents’ ambiguous history, and their father took his memories to the grave. What’s clear is that Backstage Theatre Company continues to excel in creating memories for theatergoers that are definitely unforgettable.

    
  
Rating: ★★★½
   
   

Rebekah Ward-Hays & John Henry Roberts

Performances for Three Days of Rain run every Thursday through Saturday at 7 p.m. and every Sunday at 3 p.m., from May 20th through June 25th. No performance June 16th, added performance Monday, June 6th at 7:00 p.m. General admission tickets are $25, senior tickets are $22, and student tickets (with a valid ID) are $10. Group rates are available. Tickets are available through the Viaduct Theatre by phone, (773) 296-6024. For more information about BackStage Theatre Company and Three Days of Rain, visit www.backstagetheatrecompany.org.

     

     
     

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REVIEW: Memory (Backstage Theatre Company)

  
  

Captivating ensemble fills space with raw energy

 

 

Memory - Backstage Theatre 4 - photo by Heath Hays

   
Backstage Theatre presents
   
Memory
   
Written by Jonathan Lichtenstein
Directed by
Matthew Reeder
at
Viaduct Theatre, 3111 N. Western (map)
through December 18  |  tickets: $22-$25  |  more info

Reviewed by Allegra Gallian

War is hell. Especially when you’re talking about the Holocaust, an event so horrific in nature that it still rocks people to this day. Or, more recently, this hostility and violence has manifested itself in the Israeli and Palestinian War. Views on these two wars are brought together in the Backstage Theatre Company’s Chicago premiere of Memory by Jonathan Lichtenstein.

Memory - Backstage Theatre 5 - photo by Heath HaysThe set, designed by Heath Hays, starts out as an essentially bare stage: an open space, with some propped-up backward-facing set wall pieces, a piano and a couch. This arrangement leaves plenty of room for the actor’s to move around the space, both physically and emotionally. As the show progresses, the wall pieces are turned around one-by-one to reveal large-scale black-and-white photos that create background scenery that adds to the story.

Memory – featuring Brenda Barrie, Tony Bozzuto, Samuel Buti, Bilal Dardai, Josh Hambrock, Shane Michael Murphy and Patrick De Nicola is a show about actors rehearsing a play that turns into an actual performance of the play. The show opens on a rehearsal, with the actors all playing themselves, entering and preparing themselves for work. There is no official start to the show in the traditional sense where lights dim and actors take their places. Instead the action just begins, which is slightly confusing, causing one to question what exactly we are watching. Once it becomes clear that the show has in fact started, the action is (intentionally) a bit stressed and scattered. The actors begin to rehearse a scene with their director (Josh Hambrock), moving the scene forward and then stopping it, causing a disconnect between the actors and their characters.

Eventually the rehearsal format falls away and a steady performance begins. Each actor morphs from performing a role and reciting lines to becoming the character and fully bringing them to life.

The show is split between two stories: the story of Eva and the story of Bashar.

Eva’s (Brenda Barrie) story revolves around her long-lost grandson (Shane Michael Murphy) questioning the validity of a long-standing family legend about the Holocaust. It’s told through flashbacks of Eva’s life with her friends Felix (Patrick De Nicola) and Aron (Tony Bozzuto), who later becomes her husband. Bashar’s (Bilal Dardai) story tells of his experience as a Palastinian fighting against an Israeli soldier (Samuel Buti).

Memory proves to be a true ensemble piece, with each actor working in sync with one another. It’s apparent that this cast has come together and bonded, with each member as strong as the next, growing as the show progresses and developing honest portrayals of the characters. The stage chemistry is genuine and emanates throughout the space.

 

Brenda Barrie in Backstage Theatre Memory - photo by Heath Hays Josh Hambrock & Samuel Buti - Backstage Theatre - Heath Hays photographer
Memory - Backstage Theatre - photo by Heath Hays Brenda Barrie & Tony Bozzuto - Backstage Theatre - photo by Heath Hays

Barrie plays the role of Eva as both as an older and younger version. Her portrayal of an older Eva is a fascinating one as she embodies the character through her actions, her voice and the emotions that play over her face. Barrie creates a quietly strong persona that seems as though it could snap in an instant, knowing that she’s been carrying around secrets and guilt for years. When it does snap the emotion that’s let loose is so raw and unfiltered that it fills up the entire space.

Murphy’s performance as Peter is lively and full of energy. He’s hungry with a curiosity to know about his family’s past and it drives him to push Eva to open up and reveal the truth.

Eva flashes back to her earlier years where Barrie, Bozzuto and De Nicola are believable as a trio of old friends, discovering who they are and what they’re meant to be. What starts as fun and frivolity quickly turns to fear and anger, causing them to choose sides (or have sides chosen for them) during the Holocaust. All three offer up captivating performances of friendships torn about by lines drawn between the Nazis and the Jews.

The transitions between Eva’s story and Bashar’s story are smooth.  Dardai plays Bashar also with a quiet strength as he stands up for not only his home but his family, his beliefs and his life. An unusual relationship is formed between him and Isaac (played by Samuel Buti). Isaac is torn between trying to help and simply carrying out orders. Buti’s performance shows this struggle through the formation of a relationship that could only happen under these specific circumstances. He’s clear in his devotion to the Israeli army but he’s humanized in his attempts at trying to ease some amount of suffering for Bashar.

At certain times throughout the performance, whether it is from the intensity or excitement of the action, the accents slip out of German/Israeli/Palestinian into something less distinguishable. That being said, the performances grow to become so emotionally charged that they grab hold of the audience, captivating them so it’s impossible to look away as the ensemble digs down to the deepest point of authentic emotion.

  
  
Rating: ★★★½
  
   

Memory plays at the Viaduct Theater, 3111 N. Western Ave., through December 18 Thursday through Saturday at 7:00 pm and Sunday at 3:00 pm. Tickets are $25 and $22 for seniors.

Patrick De Nicola & Tony Bozzuto in Memory at Backstage Theatre

 

 

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REVIEW: Long Day’s Journey Into Night (Polarity Ensemble)

  
   

This ‘Journey’ lacks propulsion

 

 

Long Days Journey - Polarity 002

   
Polarity Ensemble presents
    
Long Day’s Journey Into Night
    
Written by Eugene O’Neill
Directed by
Susan Padveen
at
Josephinum, 1500 N. Bell (map)
through Dec. 5  |  tickets: $10-$19  |  more info

Reviewed by Barry Eitel

Eugene O’Neill’s Long Day’s Journey into Night, one of the most important plays in the American canon, is a marathon experience. Four acts, four actors (mostly), and enough substance abuse to melt your liver. Clocking in at almost four hours, the bulky play is rarely done. Polarity Ensemble has bravely engaged with the monster, opening their season with the highly-biographical play. The spark driving this production is dim, causing the world to feel artificial. Considering the challenges, however, Polarity and director Susan Padveen should be commended.

Long Days Journey - Polarity 011Long Day’s Journey can be seen as O’Neill’s love letter to the theatre. Alternatively, it could also be seen as a suicide note.

The play is based on O’Neill’s family life, one that is accustomed to second-rate hotels and late night trains. The father of both the real-life O’Neill and Edmond, his doppelganger in his story, played the lead in a perpetually touring production of The Count of Monte Cristo for thousands of performances. In Long Day’s Journey, the stress of the road has shredded apart Edmond’s family, along with cheap doctors, alcoholism, and a mother with a nasty morphine addiction.

Somewhat surprisingly, the play reads like a living, breathing text rather than a starchy closet drama. O’Neill never saw the play staged. He finished it, threw it in a vault, and said it could only be published a quarter-century after his death. His wishes were subverted, though, and the play saw the light of the day only three years after he was buried. It was met with enormous acclaim, won Eugene a posthumous Pulitzer Prize, and now is required reading for any lover of American theatre. O’Neill’s memories are made watchable because of his charming wit and penchant for writing scorching conflicts which are constantly poked and resuscitated.

After sitting through that crushing diurnal cycle at Polarity’s space, you aren’t left snoring. But you aren’t left electrified, either. The cast shies away from the play’s essential weightiness. They never look comfortable just letting themselves sit immersed in the Tyrone’s dysfunction. The actors can’t get across the giant, swerving egos the script requires.

Long Days Journey - Polarity 013 Long Days Journey - Polarity 012
Long Days Journey - Polarity 003 Long Days Journey - Polarity 019

Kevin Kenneally is patriarch James. The role is perhaps the most difficult in the tale. He has probably the most stage time, and the hardest journey: watching the aftershocks of a family he had a major hand in destroying. Keanneally cannot plug into the raw power needed for James. For the most part, Keanneally steers his James well. But when the cards are down and pretenses have broken apart, he often retreats into vulnerability, as opposed to struggling to paint over his sensitivity with anger and disappointment.

Caroline Dodge Latta as James’ wife, Mary, fares better. She particularly shines in the last moments, where she brings down the house with one of my favorite monologues of all time. The two brothers are the most interesting piece of the cast. Bryan Breau’s Edmond and Eric Damon Smith’s whiskey-soaked Jamie spar with zest, even if some of the stakes aren’t high enough.

Long Day’s Journey into Night is a powerhouse play. Requiring thorough, battle-ready actors, the experience should be a punch in the throat. Padveen’s production is not a powerhouse. The lying isn’t believable enough, the delusions aren’t thick enough, and the family’s utter inability to communicate isn’t fully fleshed-out. The volatility needs to be wrenched up. O’Neill allows little room for tepidness.

That being said, Polarity could have done much, much, much worse. The major themes all bleed out, leaving plenty to ponder after the night finally arrives. Padveen’s production sucks the breath from you. But O’Neill’s incendiary script can knock you cold.

   
   
Rating: ★★½
       
     

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Non-Equity Jeff Awards nominees announced

chicagoatnight

2010 Non-Equity Jeff Award Nominees

 

 

Production – Play
  Busman’s Honeymoon Lifeline Theatre (review ★★★)
Death of a Salesman Raven Theatre (review ★★★½)
Killer Joe Profiles Theatre (review ★★★½ )
The PillowmanRedtwist Theatre (review ★★★)
St. Crispin’s Day Strawdog Theatre Company (review ★★)
Wilson Wants It All The House Theatre of Chicago (review ★★★)

 

Production – Musical
  Chess  Theo Ubique Cabaret Theatre i/a/w Michael James (review ★★½)
Evolution/Creation  -   Quest Theatre Ensemble (review ★★★)
The Glorious Ones   Bohemian Theatre Ensemble (review ★★★)
The Who’s Tommy Circle Theatre 

 

Director – Play
  Aaron Todd Douglas: Twelve Angry Men Raven Theatre  (review ★★★)
Michael Menendian: Death of a SalesmanRaven Theatre (review ★★★½)
Michael Rohd: Wilson Wants It All House Theatre of Chicago (review ★★★)
Kimberly Senior: The PillowmanRedtwist Theatre (review ★★★)
Rick Snyder: – Killer Joe Profiles Theatre  (review ★★★½)

  

Director – Musical
  Fred Anzevino & Brenda Didier: Chess – Theo Ubique Theatre (review ★★½)
Jeffrey CassThe Who’s TommyCircle Theatre
Stephen M. Genovese: The Glorious Ones Boho Rep (review ★★★)
Andrew Park: Evolution/CreationQuest Theatre Ensemble  (review ★★★)

 

Ensemble
  The Glorious Ones Bohemian Theatre Ensemble (review ★★★)
Red Noses Strawdog Theatre Company
Twelve Angry Men
Raven Theatre  (review ★★★)
Under Milk Wood  Caffeine Theatre  (review ★★)

 

Actor in a Principal Role – Play
  Tony Bozzuto: On an Average DayBackStage Theatre Company 
Darrell W. Cox: Killer Joe
Profiles Theatre  (review ★★★½)
Andrew Jessop: The PillowmanRedtwist Theatre (review ★★★)
Peter Robel: I Am My Own Wife Bohemian Theatre  (review ★★★★)
Chuck Spencer: Death of a Salesman Raven Theatre  (review ★★★½)

 

Actor in a Principle Role – Musical
  Courtney Crouse: ChessTheo Ubique Cabaret Theatre  (review ★★½)
Tom McGunn: The Who’s Tommy Circle Theatre
Eric Damon SmithThe Glorious Ones
Bohemian Theatre (review ★★★)
Jeremy Trager: Chess Theo Ubique Cabaret Theatre   (review ★★½)

   

Actress in a Principle Role – Play
  Brenda BarrieMrs. CalibanLifeline Theatre  (review ★★★★)
LaNisa FrederickThe Gimmick Pegasus Players (review ★★)
Millicent HurleyLettice & Lovage Redtwist Theatre (review ★★★★)
Kendra Thulin: Harper Regan Steep Theatre  (review ★★½ )
Rebekah Ward-Hays: Aunt Dan and Lemon BackStage Theatre 

 

Actress in a Principle Role – Musical
  Danielle Brothers: Man of La Mancha Theo Ubique Theatre  (review ★★★)
Sarah Hayes: Man of La ManchaTheo Ubique Theatre   (review ★★★)
Maggie PortmanChess  Theo Ubique Cabaret Theatre  (review ★★½)

 

Actor in a Supporting Role – Play
  Chance Bone: Cooperstown Theatre Seven of Chicago  (review ★★)
Jason HuysmanDeath of a Salesman Raven Theatre (review ★★★½)
Edward KuffertThe CrucibleInfamous Commonwealth (review ★★★)
Peter Oyloe: The Pillowman Redtwist Theatre   (review ★★★)
Phil TimberlakeBusman’s Honeymoon Lifeline Theatre  (review ★★★)

 

Actor in a Supporting Role – Musical
  Eric Lindahl: The Who’s Tommy Circle Theatre
Steve Kimbrough:
Poseidon! An Upside Down Musical Hell in a Handbag
John B. LeenChess Theo Ubique Cabaret Theatre  (review ★★½)

 

Actress in a Supporting Role – Play
  Nancy Friedrich: The Crucible Infamous Commonwealth (review ★★★)
Vanessa Greenway: The Night SeasonVitalist Theatre i/a/w Premiere Theatre & Performance (review ★★★★)
Kelly Lynn HoganThe Night Season Vitalist Theatre i/a/w Premiere Theatre & Performance (review ★★★★)
Kristy Johnson: A Song for Coretta Eclipse Theatre  (review ★★)
Mary RedmonThe Analytical Engine  – Circle Theatre  (review ★★★)

 

Actress in a Supporting Role – Musical
  Kate GarassinoBombs Away!  – Bailiwick Repertory Theatre  
Danni Smith
The Glorious Ones  -   Bohemian Theatre (review ★★★)
Trista Smith: Poseidon! An Upside Down Musical  -  Hell in a Handbag
Dana Tretta
The Glorious Ones  Bohemian Theatre   (review ★★★)

 

New Work
  Aaron CarterFirst Words  MPAACT (review ★★★)
Ellen FaireyGraceland Profiles Theatre  (review ★★★)
Tommy Lee JohnstonAura  Redtwist Theatre
Andrew Park and Scott Lamps
Evolution/Creation  -   Quest Theatre Ensemble (review ★★★)
Michael Rohd & Phillip C. KlapperichWilson Wants It All  -  The House Theatre of Chicago  (review ★★★)

 

New Adaptation
  Bilal Dardai: The Man Who Was ThursdayNew Leaf Theatre  
Sean Graney:  –
Oedipus  The Hypocrites (review ★★★★)
Frances LimoncelliBusman’s Honeymoon Lifeline Theatre (review ★★★)
Frances Limoncelli:  – Mrs. Caliban  – Lifeline Theatre (review ★★★)
William Massolia: Little Brother  Griffin Theatre

 

Choreography
  Kevin BellieThe Who’s Tommy  Circle Theatre
Brenda Didier
Chess   Theo Ubique Cabaret Theatre (review ★★½)
James Brigitte DitmarsPoseidon! An Upside Down Musical  Hell in a Handbag Productions

 

Original Incidental Music
  Andrew Hansen: Treasure Island  -  Lifeline Theatre  (review ★★★½)
Kevin O’Donnell:   -  Wilson Wants It All  -   House Theatre   (review ★★★)
Trevor WatkinThe Black Duckling  -  Dream Theatre

 

Music Direction
  Ryan BrewsterChess  – Theo Ubique Cabaret Theatre (review ★★½)
Gary PowellEvolution/Creation  Quest Theatre   (review ★★★)
Nick SulaThe Glorious Ones  Bohemian Theatre   (review ★★★)

 

Scenic Design
  Tom BurchUncle Vanya Strawdog Theatre  (review ★★★)
Alan DonahueTreasure Island Lifeline Theatre (review ★★★½)
Heath HaysOn an Average Day  -   BackStage Theatre Company
Bob Knuth
The Analytical Engine  Circle Theatre (review ★★★)
Bob KnuthLittle Women  -   Circle Theatre (review ★★★)
John Zuiker:   I Am My Own Wife  -   Bohemian Theatre (review ★★★★)

 

Lighting Design
  Diane FairchildThe Gimmick  -  Pegasus Players (review ★★)
Kevin D. Gawley: Treasure Island Lifeline Theatre (review ★★★½)
Sean MallarySt. Crispin’s Day  – Strawdog Theatre Company (review ★★)
Jared B. MooreThe Man Who Was Thursday New Leaf Theatre
Katy PetersonI Am My Own Wife
Bohemian Theatre (review ★★★★)

 

Costume Design
  Theresa HamThe Glorious Ones  -  Bohemian Theatre  (review ★★★)
Branimira IvanovaTreasure Island  Lifeline Theatre (review ★★★½)
Joanna MelvilleSt. Crispin’s Day  -  Strawdog Theatre Company (review ★★) Jill Van BrusselThe Taming of the Shrew  Theo Ubique  (review  ★★★)
Elizabeth WislarThe Analytical Engine  – Circle Theatre (review ★★★)

 

Sound Design
  Mikhail FikselOedipus The Hypocrites (review ★★★★)
Michael GriggsWilson Wants It AllThe House Theatre (review ★★★)
Andrew HansenTreasure Island Lifeline Theatre  (review ★★★½)  
Joshua HorvathMrs. CalibanLifeline Theatre (review ★★★★)
Miles PolaskiMouse in a Jar Red Tape Theatre  (review ★★)

 

Artistic Specialization
  Kevin Bellie: Projection Design, The Who’s Tommy  -   Circle Theatre
Elise Kauzlaric: Dialect Coach, 
Busman’s Honeymoon  Lifeline Theatre (review ★★★)
Lucas Merino: Video Design, Wilson Wants It AllThe House Theatre of Chicago (review ★★★)
James T. Scott:  Puppets, Evolution/Creation Quest Theatre (review ★★★)

 

Fight Choreography
  Geoff Coates: On An Average Day  -  BackStage Theatre Company
Geoff Coates
Treasure Island  Lifeline Theatre   (review ★★★½)
Matt HawkinsSt. Crispin’s DayStrawdog Theatre Company (review ★★)
R & D ChoreographyKiller Joe  Profiles Theatre  (review ★★★½  )

 

More info at the Jeff Awards website.

   
   

REVIEW: The Play About the Baby (BackStage Theatre)

BackStage gets sexy, absurd

 

 
BackStage Theatre presents
 
The Play About the Baby
 
by Edward Albee
directed by
Matthew Reeder
at
Chopin Studio Theatre, 1543 W. Division (map)
through May 8th (more info)

reviewed by Barry Eitel

Longevity seems to be a difficult goal for many great American playwrights. Not that their works can’t endure for years to come, which is why they’re great. However, many of them struggle with churning out great plays over the entire span of their career. Quite a few start off white hot, but lose their streak as the years wear on. Arthur Miller won his first Tony in his thirties for All My Sons, but ended his career with the mediocre Finishing the Picture after years of other mediocre plays. Tennessee Williams  also witnessed the success of The Glass Menagerie in his thirties, but didn’t see much success in the last thirty years of his life.

Edward Albee, however, apparently has escaped this curse. He started his career with the brilliant Zoo Story in 1958 and won the Tony Award in 2003 for his brilliant The Goat, or Who is Silvia? He still has his duds (I’m looking at you, Sandbox) but he has definitely aged well and is still kicking out revisions and new works. The Play About the Baby is one of his later plays (1998). It captures the refreshing absurdism that put Albee on the map, even though it was written after most other absurdists were dead. Not often produced, it’s a treat that BackStage Theatre is mounting the rarely seen play, even though it has its bumps.

The play is indeed about a baby, but also about reality, perception, loss of innocence—pretty mature stuff. It starts with a Boy and Girl (Patrick De Nicola and Kate Cares, respectively), living their blissful lives in a blinding white Eden-like setting. They are blessed with a baby, youth, and unquenchable sex drives. Their world is invaded by the bizarrely vaudevillian Man and Woman (Michael Paces and Karen Yates ). The baby mysteriously disappears, and Boy and Girl do whatever they can to find it (or possibly, believe in it again?). Innocence is stripped away. A double-headed snake, the Man and Woman force-feed the younger couple the fruit of knowledge.

Matthew Reeder’s production is surreal, hilarious, disturbing, intimate, and heartbreaking. He doesn’t try to cram a concept onto Albee, but presents the script as written. Some have suggested theories like Man and Woman are Boy and Girl grown up, but you won’t find any hint of that here. As whacky as it is, Reeder’s interpretation of the play is straightforward. This was the smart choice, but unfortunately Albee can get a little confusing, with his blurring of theatricality, absurdism, and reality. The second act, for example, is pretty much the first act chopped up and repeated. Everything gets a little muddled towards the end; it can be hard to keep up.

The cast deeply respects Albee. De Nicola is vicious yet infantile; Cares matches his vulnerability with soft-spoken empathy and a (occasionally disturbing) motherly quality. Paces and Yates are charismatic, funny, and sort of terrifying. Their extended direct addresses can slip into Open Mic Night stand-up territory, but overall they keep the ship afloat and the audience entertained.

This is only the second production of The Play About the Baby in the city since the Chicago premier in 2003. That isn’t too surprising—Albee doesn’t stake out a clear narrative, there’s full-frontal nudity…even the fact that no character has an actual name is kind of scary. Reeder and BackStage bravely stage this tough script, though, and the cast never backs down from Albee’s challenges. Next season sees a flurry of Albee (both newer and older, but all of it is genius), and BackStage’s The Play About the Baby is a deliciously absurd first course.

 
Rating: ★★★
 

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REVIEW: Orange Flower Water (BackStage Theatre)

Troubled Relationships Lead to Family Trauma

Orange Flower Water (4 of 7)

BackStage Theatre Company presents:

Orange Flower Water

 

Written by Craig Wright
Directed by Jessica Hutchinson
Chopin Studio Theatre thru March 27th (more info)

reviewed by Keith Ecker 

If you’ve ever been part of an ugly breakup, then you probably know the mixed bag of emotions you feel toward your former partner once the relationship is severed. There’s the flood of anger fueled by the overpowering resentment. There’s the sadness felt through the mourning of something lost. And there’s the longing, the part of you that for some inexplicable reason no matter how poorly your partner treated you wants nothing more than for the two of you to be a happy couple once more.

Orange Flower Water (2 of 7)Often when such breakups are portrayed in drama, the scripts and/or the actors fail to do human nature and human emotion justice. Breakups are frequently portrayed as black and white. People are either in love or they are out of love. They either feel hatred, or they feel elated. And of course there’s always a bad guy—the evil lover—and the victim. None of this is real. None of this is true. And we all leave the theater feeling like we just watched some lifeless Lifetime movie that relates as much to us as a tree relates to a fish.

Fortunately BackStage Theatre’s production of Craig Wright’s Orange Flower Water does matrimonial unhappiness some justice. This is a story where perception is key, where bad guys and good guys are one in the same because such distinctions are not universal but rest in the eye of the beholder. This is a story that understands pain is sometimes necessary for love to flourish, and that life offers no easy answers or solutions.

The play is about two couples. Brad (Tony Bozzuto) and Beth (Shelley Nixon) are married with children. Their relationship is in shambles in large part to Brad’s obnoxious attitude. This is a man who proudly wears the label “asshole.” Beth meanwhile never thought the marriage was a good idea in the first place and now seeks the nurturing she craves from another man, David (Jason Huysman). David is married to Cathy (Maggie Kettering). Cathy is fairly deep in denial about the extent of David’s unhappiness in the relationship, which doesn’t bode well for when she finally finds out the truth of his infidelity.

Secrets are revealed and relationships that were once likely filled with tense silences overflow with shouting matches. After confronting Brad about the state of their marriage and confessing to the affair, Beth leaves, which leads to a drunken voicemail message to Beth via a monologue. Cathy, on the other hand, chooses to invert her anger and becomes a masochist, practically forcing David to have the most uncomfortable and least satisfying sex of his life.

As I watched the play, I couldn’t help but think of the award-winning television series “Six Feet Under”, which was famous for toeing the line of drama and comedy with absolute finesse. That’s why I was hardly surprised to find out Wright wrote for the show. His script is honest and touching without being sappy or contrived. He also inserts some powerful levity that spares the play from venturing into melodramatic territory, as well as painting each of his characters in both negative and positive lights, reserving the ability to judge for the audience.

Orange Flower Water (3 of 7) Orange Flower Water (7 of 7)

The acting is outstanding. Huysman plays David with a sincerity that makes it difficult to despise him for cheating on his wife. Meanwhile, Kettering plays Cathy as a soccer mom whose thinly veiled passive aggression is both true-to-life and comical. Nixon throws herself into the role of Beth. When the character displays her insecurity, Nixon is a lamb, but when Beth bares her teeth, the actress summons a lion’s fury. Bozzuto is incredible as Brad. His facial expressions, his mocking tone and the delivery of his lines is so specific. It’s difficult for me to conceive of anyone playing this role differently.

The only glaring flaw with Orange Flower Water is in the directing. The show is in the round and centered around a bed, which the characters rotate from scene to scene. Although this plays into the concept of perception, it also disrupts the view of the actor’s faces and movement. This wouldn’t be a big deal if the actors weren’t so good. But they are amazing, and they deserve to be seen clearly.

The other directorial miscalculation is with the use of transition music. In between scenes, as the actors regroup and the stage rotates, music with lyrics plays overhead. Any deep feeling achieved through the acting and story is immediately made shallow by the insertion of such a “Dawson’s Creek” convention.

Orange Flower Water is an honest portrayal of dishonesty in two relationships. It also is a lesson for the romantic that love often leaves a long and winding trail of pain in its path. With superb acting and an amazing script, this production is nearly perfect.

 

Rating: ★★★½

 

Orange Flower Water (6 of 7)

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REVIEW: The Rant (Mary-Arrchie Theatre)

Mary-Arrchie’s ‘The Rant’ Illuminates and Devastates

Mary-Arrchie's "The Rant"

Mary-Arrchie Theatre presents:

The Rant

by Andrew Case
directed by Sharon Evans
at
Angel Island Theatre through March 28th (more info)

reviewed by Paige Listerud

Much about Andrew Case’s play The Rant masquerades as a typical cop show. There are interrogations with guys in police uniform across bare tables under unforgiving lights. All the same, the play’s dialogue is too whipsmart for television. It’s subject—an investigation of police misconduct—pushes beyond the conservative boundaries of cop/good-perp/bad formulas dominating network television. Finally, the sophisticated handling of media relations between public and police is all too knowing and wise.

rant2 Case invests eight years’ experience on police misconduct issues for New York City into this no-holds-barred one-act, and it shows—like a house on fire. The result is a sorely needed resuscitation of public dialogue on the hope of preserving justice in a system hideously compromised by racism, truncated by police cultural codes of loyalty and silence, and all too often cynically betrayed by the fourth estate.

Public Advocate Lila Mahnaz (Lindsey Pearlman) wants to get at the truth. The autistic son of Denise Reeves (Shariba Rivers) has been shot and killed during a police response to a call. Her own background as an Iranian Persian-American, informs her view of police behavior with jaundiced skepticism and almost revolutionary fervor. Her pursuit of the truth takes her down a winding road that exposes police corruption, the exploitation of and by the press, and the comprehendible, but frustrating, unreliability of witnesses. Her progress acts as a great meditation the difficulty of getting to the whole truth, encompassing many of the pitfalls of well-meaning advocacy.

Director Sharon Evans’ superlative cast nails this intelligent drama to the wall. Rivers’ aggrieved Denise, mother of the slain boy, packs a lifetime of angry suffering into every uttered syllable—it’s a weight she both resignedly shoulders and also wields as a weapon against her detractors. Pearlman’s public advocate displays the earnest pluck and self-righteousness of youth running smack into the roadblocks of police obfuscation and threats. At the same time, she is forced into confronting the barriers created by her own relatively privileged life. Earl Pastko as Mahnaz’s clandestine journalist contact, Alexander Stern, is perfectly sharp, jaded, neurotic, and totally New York. “I no longer believe in facts,” says Stern, “I believe in leverage.” Emanueal Buckley’s performance as Officer Charles Simmons potently rounds out the play. His sorrowful closing monologue seals the play’s mounting despair on the possibility of ever seeing justice done.

TheRant-Press1I’m of two minds about Heath Hays’ rough and ready set design. At times the primitively constructed flats—clear plastic stretched over wooden frames–serves Matthew Gawryk’s visceral lighting design superbly and fits the anarchist vibe of the Mary-Arrchie Theatre to a T. At other times it seems too ghetto-fabulous for its own good and there’s no need for that here. The play is already gritty and fabulous. The cast is rock-solid fabulous. Mary-Arrchie has a hit on its hands. Audiences should run, not walk, to see it.

 

Rating: ★★★★

 

Photos by Sharon Evans

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