Review: An Enemy of the People (Stage Left Theatre)

  
  

Stage Left’s ‘Enemy’ requires suspension of cynicism

  
  

William Watt as Doctor Stockmann, An Enemy of the People. Photo credit: Johnny Knight

  
Stage Left Theatre presents
   
An Enemy of the People
   
Original play by Henrik Ibsen
Adapted by
Arthur Miller
Directed by
Jason Fleece
at
Theater Wit, 1229 W. Belmont (map)
through April 3  |  tickets: $22-$28  |  more info

Reviewed by Katy Walsh

‘Before many can know it, one must know it.’ Corporate, government, media, medical: which “expert” is most credible to announce an environmental threat? Stage Left Theatre presents An Enemy of the People. The play was originally written in 1882 by Henrik Ibsen and adapted in the 1950’s by Arthur Miller. It’s1959 in Norway. The Institution has capitalized on a vacation hot springs spot. The entire town benefits from tourists seeking a healthy retreat. The doctor at The Institution finds killer bacteria in the water. Delighted over the important scientific discovery, the doctor tells the mayor the deadly risk to the community. The mayor doesn’t have an emergency response. In fact, the mayor believes the real harmful substance isn’t in the water…. it’s his brother. The mayor and the doctor also happen to have a toxic brother relationship. The doctor wants to alert the public to the health risk. The mayor wants to Scene from 'An Enemy of the People'. Stage Left Theatre. photo by Johnny Knightisolate the problem… his brother. It takes a village to avoid a scandal. The town takes sides against a brother. An Enemy of the People is a nostalgic look back at days gone be. It’s the simpler times when elected officials, local newspapers, and spring waters were unquestionably pure.

The premise of the play requires suspension of cynicism. In 2011, Americans drink water out of bottles, scan the Internet for credible media sources, and scrutinize every politician comment for bullshit. The very plot of the play requires a childlike wonder that is difficult to muster. Without it, connecting with the characters is difficult. This particular production never quite successfully bridges the generational gap. Some directorial choices by Jason Fleece makes the flow clunky and artificial. The large cast has some individual standout moments but overall seems disjointed in attempts to come together. In the lead, William J. Watt (Doctor) plays it over-the-top and in-the-face, whining his opinion. Watt seems less like a man of science and more like a spoiled child. In a complete departure from the play’s intention, a sympathy arises for his persecutors.The other brother, Cory Krebsbach (Mayor) plays it much more subtle. Krebsbach is all-politician smooth-talking the town into rallying against medical expertise and their own health. Bringing comic relief, James Eldrenkamp (Aslaksen) is funny ‘in moderation’, Kurt Conroyd (drunk) makes a hysterical spectacle and Sandy Elias (Morton) is a curmudgeon cartoon.

The set, designed by Alan Donahue, has an Ikea-does-cabin-look. It’s all wooden with a strong modern ambiance. Apparently, the middle of the set provides a shadowboxing effect for a mob scene. The audience semi-circles the stage. I was sitting stage right and didn’t observe the dramatic effect.

Back in the day, An Enemy of the People must have raged a war on authority. Today, Americans are continually in conflict with leaders. The evolution of thought to modern times makes the content less profound. This production is somewhere between an enemy and a friend of the people.

  
  
Rating: ★★
   
  

An Enemy of the People continues at Theater Wit through April 3rd, with performances Thursdays, Friday, and Saturdays at 7:30pm; Sundays at 2:30pm.  Running time is two hours and thirty minutes with a ten minute intermission. Tickets are $22-$28, and can be purchased online or by calling 773-975-8150.

  
  

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Review: Mary-Arrchie’s “How to Disappear Completely and Never Be Found”

Fin Kennedy’s witty dialogue drives suspenseful production

Mike-Charlie

Mary-Arrchie Theatre Company presents

How to Disappear Completely and Never Be Found

by Fin Kennedy
directed by Richard Cotovsky
runs through Dec. 20 (ticket info)

reviewed by Leah A. Zeldes

London ad executive Charlie Hunt’s world is disintegrating. He’s just cremated his mother. His all-consuming work leaves him no time to go anywhere or meet anyone, and he’s more and more bothered by a belief that everything in his life is fake. He’s putting massive amounts of money up his nose, his colleagues are asking disturbing questions and he keeps hearing a buzzing in his ears.

Doctor-Charlie Pushed to the edge, one day he simply runs out of his office, leaving his jacket on the back of his chair and his mum’s funeral urn on his desk, and they never hear from him again.

Charlie is the central character of the intriguing "How to Disappear Completely and Never Be Found" by rising young British playwright Fin Kennedy, now in Midwest premiere from Mary-Arrchie Theatre at the intimate Angel Island theater. How to Disappear was the first unproduced play in 40 years to win an Arts Council John Whiting Award for New Theatre Writing, after — according to the playwright — being rejected by nearly every theater in London.

Kennedy’s razor-sharp language, exhibited in powerful monologues and witty dialogue, builds a rising suspense as Charlie runs from his former life. Carlo Lorenzo Garcia puts in an intense and fascinating performance as the deteriorating Charlie, expounding on all the frustrations of daily life that all of us experience but few of us act upon. He’s excelled only by the impish Kevin Stark, as Mike, the small-time crook who serves as Charlie’s mentor in disappearing.

Director Richard Cotovsky‘s clever staging adds to the frenetic quality of the work. He gets excellent work from the supporting cast, most of whom play multiple characters — Charlie’s colleagues, chance-met strangers, doctors, telephone operators, etc. James Eldrenkamp stands out in a comic role as a London transit worker, juxtaposing ably with Charlie’s stuffy, upper-class boss.

Dialect coach Kathy Logelin must be an effective teacher — the cast handles class-conscious British with scarcely a stumble. They haven’t spent much on the set, but Scenic Designer William Anderson‘s 2-by-4 and newspaper backdrops contribute effectively to the disjointed, surreal quality of the play.

Sophie-CharlieAlthough there’s no program credit or reference to it in the script, "How to Disappear" was clearly inspired by the classic manual of the same name by Doug Richmond, first published in 1986 by the late, lamented underground publisher Loompanics Unlimited. In one the best scenes in the show, Charlie’s mentor, Mike, explains the techniques in detail. They’ve been updated — with references to SIM cards and Facebook — and slightly adapted for the U.K., but readers of the original will recognize the mechanics as Richmond explained them two decades ago. Whether they still work in these post-9/11, security-conscious days is debatable. Then, as now, it depends on who you want to get away from.

In Charlie’s case, it becomes increasingly clear that that’s himself.

 

Rating: ★★★

 

Notes: Second-floor theater has no wheelchair access. Paid parking may be available at the Mobil gas station across the street.

PHOTOS BY RYAN BOURQUE

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