Review: 6th Annual Chaos Festival (Point of Contention)

Where ten writers write ten plays actualized by ten directors

Point of Contention Theatre presents

The Sixth Annual Chaos Festival

at Lincoln Square Theatre, 4754 N. Leavitt (map)  through April 6  |  tickets: $15  | more info

Reviewed by Katy Walsh

Lovers, killers, single-cell organisms, survival is dependent on embracing the chaos.  Point of Contention Theatre Company presents The Sixth Annual Chaos Festival. Ten writers wrote ten plays actualized by ten directors.  The cluster of ten minute shows is a showcase sampling of new work.  It’s something for everyone on the all-you-can-eat-buffet.  The morsel nibbling allows for tasting a variety of a la carte offerings without getting stuck with a dissatisfying main entree.  For the curious palate, it’s a series of one bite wonders.  If it’s sweet, there is the next daily special by the actors, writer, or director to crave. If the recipe is bland, a future spicier version could bring out the flavor.

Second Helping, Please 

Three of the shows were unique, lip-smacking, gourmet surprises.  Minutiae written by Barry Eitel, is an evolutionary exploration of scientific wit.  Under the direction of Rachel Staelens, Nicci Schumacher and Rafael Torres spar in a lively, rambunctious survival of relevance.  The Four Senses of Love written by Arthur M. Jolly is a hilarious coupling of two members of a sensory-deprived support group.  Under the direction of Brandon Boler, individually and collectively, Jonathan Helvey and Lisa Cordileone sarcastically work through their affliction with no senses.  Wet Work written by Jenny Seidelman is an intriguing, comedic encounter between two very opposite men.  Under the direction of Brandon Baisden, Ray Ready plays it perky, irritant to an established, smoldering Joshua Volkers.  The odd duo captivates to an unexpected conclusion.

Can’t Make Out the Taste, But I Like it

Two of the shows aroused with a lingering aftertaste. Jib and The Big Still written by Elizabeth Birkenmeir is a guy zoning out to avoid the chaos around him.  Under the direction of Michael Wagman, David Holcombe, Jaclyn Keough, and Warren Feagins effectively use extremes in physicality to contrast angst.  Quiet Killers, written by Kristen Palmer, is teenagers musing over death and human instinct.  Under the direction of Brea Hayes, Drew Anderson, Natalie Nassar, and Eric Ryan Swanson are over-the-top morose.  It’s how the goth-set does funerals.

Had It Before, It’s Enjoyable

Three of the shows have the familiar homestyle goodness of leftovers.  The Narcoleptic Pillow Fight written by Alex Dremann is a couple fighting through bouts of hysterical, empathetic or selective narcoleptic episodes.  Under the direction of Allyson B. Baisden, Megan E. Brown and Andy Cameron heighten the amusing buffoonery of ‘narking out’.  The Rollercoaster of Love written by Joe Musso and A Play or Something Like That written by McCarry Reynolds are two delicious potato salads at the same picnic!  It’s actors playing actors working a relationship scene.  Both are interesting mini ‘Circle Mirror Transformation’ but not everybody eats potato salad.

Pass the Salt 

The final two shows are a little too bland to make it to the big meal.  A Portrait of The Artist as a Middle Age Woman written by Jerry Lieblich is a mid-life crisis without the crisis. It needs a dash of Charlie Sheen antics to make it more potent.  A fictional Latin lover (Ben Johnson or Jeff Taylor, no headshot, identify unknown) overpowers with his humorous take.  He’s hilarious but it’s like putting ketchup on eggs… all you taste is ketchup!   White Cotton written by Craig Jessen flirts with infidelity as an engaged man visits his ex-girlfriend.  The love triangle doesn’t have quite enough foreplay to make the audience care about who has the long-lasting orgasm. 

The Sixth Annual Chaos Festival is a savory smorgasbord offering. With ten opportunities to curb your theatrical craving, your hunger will be satisfied. Bon Appetite!

Rating: ★★★

The Sixth Annual Chaos Festival plays through April 6th at the Lincoln Square Theatre (address), with all April performances at 8pm.  Tickets are $15, and can be purchased online or by calling 773-326-3631. Running time: Two hours, which includes a ten minute intermission.

REVIEW: Songs for a Future Generation (Lights Out Theatre)

Dancing to its own tune!

 

Lights Out Theatre presents

Songs for a Future Generation

 

Written by Joe Tracz
Directed by Mary Rose O’Connor
At EP Theatre, 1820 S. Halsted

Thru March 13^th  (more info)

By Katy Walsh

What does the future hold? The good news is dance parties! The bad news is no lobster! Lights Out Theatre Company presents Songs for a Future Generation. Set in the future, in a galaxy far, far away, Songs for a Future Generation imagines the continued challenges of hosting successful theme parties, searching for ‘the one’, and saving the… rock lobster. It is present day themes with science fiction twists. The party hosts are clones. The love seeker is a time traveler. The seafood advocate is an  intergalactic fugitive. Songs for a Future Generation is multiple stories unfolding during a series of dance parties. Watching the show is like being a wallflower, you are delighted by the rocking bash but uncertain how to engage in what’s happening.

The cast rockets with pure octane energy. The best moments are the choreographed (Anna Lucero) dance sequences involving the whole cast. The ensemble is perfectly in-sync in the dance. They bop with such enthusiasm, it feels like you are gawkers at the cool kids’ party rather than an audience at a play. As Marika clones, Andrea DeCamp, Hailey Wineland and Annie Lydia Litchfield do a wonderful job being unique while being in unison. Jaclyn Keough (The Kid), looking like an androgynous “It’s James Dean,” was fascinating to watch in her antics to rescue the rock lobster. Jonathan Matteson (Error) is the lovestruck time traveler bringing old school charm to a hedonistic generation. The costumes (Bradley Burgess-Donaleski) and hairstyles are a fun, sexy, hot mess.

For any dance party to be successful, certain elements must be present. For Songs for a Future Generation, there is definitely the right music, dance and energy. The buzz killer is often straddling the party balance between “too much” and “not enough.” In the dance numbers, keeping the large cast in step together is impressive. In scenes, where the action is low and the cast is hugging the walls, the stage’s emptiness is “nobody came to my party” awkward. The script also becomes party victim to “too much” or “not enough.” Although there are multiple storylines to follow, the content is light and frothy. The plotlines are basic and predictable. The rave is definitely the boogie. Life is a collection of celebrations. Every festivity doesn’t have to be legendary. Treat Songs for a Future Generation like the eye candy at a party, he’s pretty to look at but a strong connection isn’t necessarily present. It’s a fun hour without any emotional or intellectual commitment. Sometimes, it is just about dancing!

Rating: ★★★

Running Time: One hour and twenty-five minutes (no intermission, 10 minute delayed start).