REVIEW: Trust (Lookingglass Theatre)

An uncompromising, heart-wrenching look at internet predators.

 
 

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Trust
 
By David Schwimmer and Andy Bellin
Directed by David Schwimmer and Heidi Stillman
At: Lookingglass Theatre Company, 821 N. Michigan
Through April 25 (more info)

By Catey Sullivan 

Toward the final third of Trust, one of the supposed good guys tosses off a line that shows with stark authenticity how victims of internet pedophilia and so called “date” rape are brutally, casually and constantly re-victimized by mainstream society.

Raymond Fox, Allison ToremFourteen-year-old Annie (Allison Torem) has been raped by a 35-year-old she met online when he was posing as a high school sophomore. Her father Will (Philip R. Smith), having just jeopardized a major client at work, finally explains to a colleague that he’s been distracted because of the crime. The co-worker, horrified, sympathizes. Will keeps talking, explaining that Annie’s rapist groomed her for months in chat rooms before meeting her at a mall and then taking her to a hotel room.

Oh,” says the colleague (Keith Kupferer) with palpable relief. “I thought you meant she was attacked. “

It’s then that you realize that Annie hasn’t been victimized only by a pedophile. She’s also getting it from upstanding, law-abiding adults – the sort of good people charged with keeping children safe in any civilized community. Trust illustrates with harrowing accuracy the vast, ingrained and wholly accepted practice of how that safety is violated by a society that routinely diminishes rape’s violence by qualifying it: If the rape happened on a date, if it was by an acquaintance, if the victim wasn’t snatched by a stranger, if she went to the hotel room without screaming, if she sent suggestive e-mails before hand – well then, phew. That’s not so bad. At least it wasn’t the bad kind of rape.

Except for of course, it was. All rape is bad. And those facts are driven home relentlessly in Trust, penned by David Schwimmer and Andy Bellin (based on a screenplay by Bellin and Rob Festinger).

Directed for the Lookingglass Theatre Company by Schwimmer and Heidi Stillman, Trust isn’t a perfect play. It has its movie-of-the-week moments. But it also packs a high-intensity emotional wallop, thanks to an overall excellent ensemble and an extraordinarily powerful performance from Torem as Annie. Moreover, it’s with merciless authenticity that Trust depicts the ever-increasing circle of damage that occurs as a result of Annie’s rape. The high-school soccer player is the immediate victim, but Trust also shows how her attacker (Raymond J. Fox) thoroughly poisons her whole family.

The piece is also uncompromising in its refusal to tie everything up. Unlike on television’s CSI, sex crimes tend to drag on for months and often, even years. The cops are understaffed. The FBI spends most of its budget fighting terrorists. And guys like the one who devastated Annie? The know how to vanish. As Torem’s heart-breaking performance illustrates, they also know how to manipulate the victim until black seems white and bad seems good. Despite what police, her therapist and her parents tell her, Annie “knows” that the man who raped her loves her. Even as her behavior grows erratic and her moods ever darker, she believes all would be well if only she were left to be with the man that she loves as deeply as he loves her.

Were it an easier play, Trust would end when Annie finally faces the worst about her attacker, the promise of recovery a certainty. But to its credit, this is no an easy play. Annie confronts the worst, and then spirals dangerously downward, moving from angry to suicidal in the time it takes to call up a Myspace page.

Amy J. Carle, Allison Torem, Morocco Omari, Philip R. Smith Philip R. Smith
Spencer Curnutt and Allison Torem Trust-porch

With an equally vivid and disheartening sense of truth, Trust also shows how  mass-marketed pop culture  often seems designed to provide pedophiles with constant stimulation. Structurally speaking, it’s a bit contrived that Annie’s father is immersed in an ad campaign that glorifies adolescent sexuality. Contrived or not, it works. It’s tragic and ironic that Will’s career has him bringing the ‘tween market to the Academic Appeal (read: American Apparel) clothing corporation via images of barely pubescent boys and girls posing in their underwear. If Annie’s rapist wants to stoke his libido, all he has to do flip though Elle for Girls.

The taut, 90-minute drama also knocks the foundation out from under the fallacy that allows wealthy, stable and loving families to believe they are immune to tragedies like the one that unfolds in Trust. Victims like Annie, so many misguidedly insist, are the product of neglectful parents, poverty or broken homes. Yet Annie’s Wilmette family is close. They eat together. Her parents monitor her chat room buddies. Against the wiles of a predator, they’re sheep obliviously headed for the slaughter.

There is no happy ending here, just a sense that maybe Annie and her family will somehow survive, perhaps stronger, perhaps wiser, certainly sadder and angrier and robbed of a priceless, innocent confidence in the basic goodness of their world.

With  its final scene, Trust leaves the audience heart-wrenched and exhausted .

Whether the script would have that same emotional heft with an even slightly less seasoned cast is a valid, question. Annie’s parents, her best friend, the assorted social workers and FBI workers – all are saddled with characters who react more than anything else. In an ideal dramatic world, the story that propels the characters as much as the characters propel the story. Here, the latter dominates.

Despite that, Trust works dramatically. It is also visually strong, with appropriately tech-heavy use of computer projections, video (Tom Hodges), and IMs appearing as characters type them.

Slick and riveting, Trust is a show of urgency and – sadly – great timeliness.

Rating: ★★★½

 

 

Resource Guide

Our Lead Community Partner, Rape Victim Advocates, has created the following resources on families and technology.

Review: Lookingglass’s “The Arabian Nights”

Arabian Nights’ epic tales reveal prosaic and timely gems of wisdom

 

 The Arabian Nights
Adapted and Directed by Mary Zimmerman
Lookingglass Theatre (buy tickets here )

Reviewed by Barry Eitel

As we watch actors splash around in a giant pool in “Twelfth Night” or fly above our heads in “Mary Poppins,” it’s easy to forget theatre’s humble origins. Storytelling is a worldwide fascination of all cultures and times, currently manifesting itself in Hollywood films, blogs (like the one you’re reading at this moment), and, of course, theatre. Keeping ArabianNights_Lookingglassgrandiose Greek works and Shakespearean epics in mind, playwright and director Mary Zimmerman explores theatre’s ritualistic and narrative roots in her plays. In her play “The Arabian Nights,” she dramatizes a thousand year old non-Western text, “1,001 Arabian Nights.” This is not merely a simple adaptation for the stage. The Lookingglass team performs in an array of ways, tossing into “Arabian Nights” the elements of a World Music concert, dance show, gymnastic event, improv performance, and a really long fart joke, as well as an insightful dramatic piece.

This is the third Lookingglass production of founder Zimmerman’s Near East epic. Each production coincided with a volatile period of American relations with the Islamic world, especially Iraq. The play premiered in 1992, directly after the first Gulf War. The second Lookingglass production took place in 1997, concurrent with Clinton’s order of air strikes on Iraq. Twelve years later, we are reminded of our involvement in Iraq every day.

Arabian Nights 1It’s nice to hear the names of places usually only heard on the nightly news—Iran, Basra, Cairo—in a positive light. I was reminded that when “1,001 Arabian Nights” was first written down in Arabic, the Muslim world was the most advanced society in the world, while Europe wallowed in the Dark Ages.

A7S1018web_normal Zimmerman completely embraces the idea of narrative. The frame of the play is the story of King Shahryar (Ryan Artzburger) and the young Scheherezade (Louise Lamson). Betrayed by his wife, the King marries, loves, and murders a different girl every night. The night Scheherezade’s number comes up, she decides she’ll attempt to delay his knife by entertaining his ear with her trove of stories. This works, and her flair for narrative keeps her head on her shoulders night after night after night. Her yarns range from short, funny tales to sprawling epics exploring love, death, and morality, and all of them are performed for us by the diversely talented cast. On top of Scherezade’s storytelling, many of the characters in her tales relate stories of their own. Because of the multiple stories-within-stories, the whole play is richly layered and complex. Some are childish, some are sexy, some are heartbreaking, all are thought-provoking. On a more or less bare stage covered with Persian rugs (proudly provided by Oscar Isberian Rugs, according to a program insert), Zimmerman’s staging and choreography color the stories with movement. With only some music, a few low tables, and the actors, the tales travel from Egypt to India.

Along with being agile and flexible, the cast also performs with honesty. Although she’s blonde (which was a little distracting), Lamson’s Scheherezade is vibrant and humble, and her love for her stories is moving. There are some standouts among the customizable cast. Allen Gilmore is excellent as Scherezade’s father and one of the funniest actors in the cast, playing a ridiculous jester and lunatic. Usman Ally, Ramiz Monsef, and Minita Ghandi also can switch from comedy to romance to tragedy with skill.

Arabian Nights 1

Basically, Zimmerman reminds us how much stories affect us. We tell and listen to them everyday, through text message or best-selling book. “Arabian Nights” reveals the tales of a culture that has a monumental effect on our daily lives and national policy, from mortar attacks to the cost of gasoline. Yes, gems of wisdom are found in the play, but most importantly, we find that our two cultures experience many of the same values and struggles.

 

Rating: «««½

Venue: Water Tower Water Works
Run time: 2 hours 30 minutes with one intermission
Lookingglass Theatre (buy tickets here )

Adapted and Directed by Mary Zimmerman
Produced in association with Berkeley Repertory Theatre and Kansas City Repertory Theatre.  “Arabian Nights” features the work of company members Daniel Ostling, Mara Blumenfeld, Andre Pluess, Alison Siple, Sara Gmitter, Andy White, David Catlin, Louise Lamson and Heidi Stillman

Lookingglass Theatre’s “Our Town” – starring David Schwimmer – the rave reviews are in!

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Check out the Looking Glass Theatre‘s “Our Town” cast photo gallery at ChicagoTribune.com, starring David SchwimmerOur Town plays at the downtown theatre through April 5th.  Info and tickets here.

UPDATE – REVIEWS

Hedy Weiss of the Chicago Sun-Times: Apart from its (“trussed up”) set, the Lookingglass “Our Town” — co-directed by Anna D. Shapiro and Jessica Thebus and featuring 13 members of the close-knit ensemble — is a fairly straightforward, gently elegiac interpretation of the play.   (Entire review here). Rating: Recommended

Michael J. Roberts at ChicagoPride.comLookingglass gives us an older but wiser ‘Our Town’.  It is in the third act, however,that Shapiro and Thebus strike gold with the Lookingglass actors and where the casting choice of using older actors to play George and Emily……there is a gravitas that can only come with the experience of life. Moreover, the final moments with Schwimmer collapsing on his wife’s tombstone left nary a dry eye in the house, including mine.  (Entire review here.)

(Catey Sullivan at Examiner.com: ‘Our Town’ a staggering take on a timeless drama (Entire review here)

Chris Jones at his Chicago Tribune theater blog The Theater Loop: Iconic play mirrors Lookingglass’ Journey…Schwimmer the emotional core of ‘Our Town’ in search of a small town. (Entire review here.)  Rating: «««

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Cast of “Our Town”.  More pics here.

Tribune photo by E. Jason Wambsgans / February 5, 2009

From YouTube: Meet the cast of “Our Town”. 

In this video: David Schwimmer, Joey Slotnick, David Catlin, David Kersnar, Laura Eason, Thomas J Cox, Andy White, Heidi Stillman, Raymond Fox, Patia Bartlett, Philip R Smith, Tracy Walsh, Louise Lamson and Kevin Douglas

More Lookingglass Theatre YouTube videos here.

 

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Lookingglass Theatre extends "The Brothers Karamazov"

Due to popular ticket demand, Lookingglass Theatre will be extending their mainstage play The Brothers Karamazov, written and directed by Heidi Stillman (adapted from the novel written by Fyodor Dostoevsky).      [hat-tip to Playbill.com]

Chicago theatre on YouTube – Lookingglass and Steppenwolf

A scene from the recently-closed “Hephaestus” at LookingGlass Theatre.

A scene from “Schadenfreude” at Steppenwolf.