REVIEW: Charley’s Sonata (On the Spot and La Costa)

Cliché-ridden family drama never finds the beat.

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On the Spot Theatre Company and La Costa Theatre present
 
Charley’s Sonata
 
Written and Directed by Mike Brayndick
Original music by Stephen Gawrit
at
La Costa Theatre, 3931 N. Elston (map)
through May 23rd  |
  tickets: $10-$20  |  more info

reviewed by Oliver Sava

The writer-director is a dangerous animal. A writer’s primary task is to provide the foundation of the play, establishing style, creating plot and characters, and putting words in the actors’ mouths. Everything starts with the script. The director takes these elements and gives them life, coaching actors and working with a design team with the ultimate goal of enriching the source material. Manipulating these factors garners IMG_4600 an emotional reaction from the audience, and the director builds the connection that will determine the play’s success. It takes a massive amount of work and skill to do both well, but the main reason these roles are kept separate is because they create a system of checks and balances. The writer protects the integrity of the script, the director protects the integrity of the stage. When two become one, it can get ugly, and Charley’s Sonata ain’t pretty. The script lacks focus, struggling to balance multiple storylines about stereotypical characters, and the directorial choices are simply illogical, from unnecessarily long scene changes to the general overacting of the ensemble.

Charley (Stephen Gawrit) is the developmentally challenged son of Jonathan (David Schaplowsky) and Carol (Jennifer Young) who disappears on a family vacation in London. The events of the day Charley vanished are intertwined with various plots occurring four years later, when Jonathan and his daughter Miriam (Emma Brayndick) return to London for the reading of a relative’s will. Jonathan and Carol’s struggling marriage, Miriam’s romantic troubles, cousins Edwin (Daniel Ochoa) and Janice’s (Sandria-Jane Dajani) issues with Edwin’s mother Patricia (Janet Magnuson), and side stories involving who gets the inheritance and Patricia’s super-weird relationship with Charley are all covered, and the result is a jumbled mess that feels only half finished.

Charley’s Sonata has as much emotion as the title character’s tinny Casio. Relationships don’t feel organic, especially Miriam’s out-of-nowhere romance with a British boy and his subsequent infatuation with her; the stakes aren’t fully realized, one of the key factors that separates acting from line-reading. The cliché-ridden dialogue becomes a chore to get through – I’ve only been to London once, but I don’t think I ever heard anyone say “gov” – making the conflicts feel derivative and the production just plain boring. The show’s momentum is further diminished by the numerous lengthy scene changes, most of which are completely extraneous. At one point it takes almost an entire minute for one potted plant to be placed, which serves absolutely no purpose other than suggesting Edwin and Janice are redecorating, which is still pointless. It’s wasteful and inconsiderate to the audience, who pays to see characters interacting, not set pieces getting moved around.

 

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Granted, the character interactions also leave something to be desired. The actors struggle with the dialect, jump on each other’s lines, and occasionally even forget the name of the character they’re talking to. Schaplowsky and Dajani provide the most enjoyable performances, the former showing a genuine love for his family and fear for their future, and the latter giving some great comic relief with a spot-on dialect. Considering the amount of time spent focusing on it, Charley shows few signs of a developmental disorder other than the occasional breakdown of a contraction (“don’t” becomes “do not”, “won’t” becomes “will not”), and while Gawrit does a fine job performing Charley’s monologues, they are so eloquent that it becomes difficult to believe the character’s circumstances. Why doesn’t Charley just pick up a phone and call his parents? The whole plot hinges on Charley not being able to take care of himself, but he somehow finds a way to leave his parents a recording of his sonata while lost in a foreign country. It just doesn’t make any sense. Did he have a disc burner in his back pack? Why didn’t he send them an e-mail? These inconsistencies are what hurt the play the most, and while the cast is committed to their work, it’s hard to build a solid product on a faulty foundation.

 
 
Rating: ★½
 
 

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Review: Theo Ubique’s “Man of La Mancha”

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Theo Ubique Cabaret Theatre presents:

Man of La Mancha

Book by Dale Wasserman
Music by Mitch Leigh
Lyrics by Joe Darion
Directed by David Heimann
Music Directed by Ethan Deppe
Thru November 22nd (buy tickets)

reviewed by Katy Walsh

lamancha21 With a plunger for a sword and a bowl for a helmet, Cervantes proclaims he is the knight, Don Quixote. Sounds crazy? Set in a mental institution, the asylum’s newest inmate, Cervantes, must convince a jury of his peers that he is not crazy. Man of La Mancha, then, is a play within a play. Don Quixote tells his tale of slaying dragons (windmills), storming castles (the local inn) and rescuing a lady in distress (the local whore) to prove his identity. From the playwright  (Dale Wasserman), who penned One Flew Over the Cuckoo’s Nest, and the man (and No Exit Café owner Michael James), whose father first produced the 1965 Broadway version, Theo Ubique Cabaret Theatre presents this musical featuring a woman as the Man of La Mancha.

Instead of going in a Victor/Victoria direction – a  woman believing she is a man believing she’s a different man – this production of Man of La Mancha introduces Danielle Brothers (Cervantes/Don Quixote) as simply a man. Brothers does an excellent job of sustaining that illusion. With a formal elocution, she portrays a man of chivalry and honor from days gone by. There are only sporadic moments of …oh right, Brothers is a woman… during some of the songs. Singing in a range not her norm, Brothers hits the notes but loses a little power on the projection. This is most apparent when she is singing with her sidekick Sancho (Anthony John Lawrence Apodaca). Accompanied by a live orchestra, the cast’s amazing singing leads to involuntary shoulder dancing and humming. “To Dream the Impossible Dream” prompts hope and empowerment within a crazy world. This light hearted musical energy is briefly interrupted with “The Abduction” song. More precise, “The Rape” song is a little startlingly dramatic to the overall enjoyment of crazy people’s antics.

lamancha1 Bringing back dinner theatre, Theo Ubique provides a dinner option for an additional $23. But don’t go for the food! Salad, frittata, and banana bread isn’t a bad three course meal. It’s just not a great one. Go for the opportunity to experience the actors already in character on stage and serving the meal. Apodaca is our repeat server (also served us in the company’s Jeff Award-winning Evita). Apodaca warns us to keep an eye on our silverware around the inmates. During the dinner hour, it’s fascinating to observe the interpretations of insanity. Daniel Waters (Padre) was particularly intriguing (I want to say creepy but that doesn’t sound politically correct) as he sat on the stage rocking. Go crazy and over tip! Chicago actors as servers is one of my favorite charities to support.

 

Rating: «««

 

Aside: The man who is perfectly at home in any asylum, Dick describes the show as crazy, romantic and cool.

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