REVIEW: Pancake Breakfast (The New Colony)

      
     

Family dysfunction stacked high and covered with syrup

     
     

Pancake Breakfast - The New Colony - Viaduct Theatre

   
The New Colony presents
   
Pancake Breakfast
   
Written by Tara Sissom
Directed by
Sean Kelly
at
Viaduct Theatre, 3111 N. Western (map)
through Dec 19  |  tickets: $10-$25  |  more info

Reviewed by Katy Walsh

Independence Day is an annual celebration of liberation. For Beatrice, this year is D-Day for the release of a captive, her brother. The New Colony presents the world premiere of Pancake Breakfast. Beatrice resurrects the 4th of July family tradition. Her plan is to get the estranged family together to intervene in her mother’s unhealthy relationship with her brother. But before the clan can instigate the interference, they need to re-enact the holiday family rituals from pancake breakfast to fireworks. ‘Going home again’ is a craving never quite satisfied. Do pancakes ever taste as good as the childhood memory of them? Pancake Breakfast is family dysfunction stacked high and served with fruits and nuts.

Pancake Breakfast - The New Colony - Viaduct Theatre 4Playwright Tara Sissom devised the Pancake Breakfast script in collaboration with the actors. Sissom laid out the premise and the ensemble developed individual characters. The result is an IHOP menu of tasty options that don’t quite go together for one well-balanced meal. Some of the characters are a bounty of flavor. Arlene Malinowski (Lillian) is a delicious loud-mouthed, mean-spirited, mother flapjack. Evan Linder (Randy) is a delectably hilarious, Asperger’s son-of-a-bitch. Jack McCabe (Arlie) stirs the pot for laughs as an eccentric nut. Megan Johns (Darcy)smokes the pot as the amusing, carefree 2nd wife. It’s these tangy portrayals that overshadow the other milder ingredients. What are the other tastes? Gary Tiedemann is definitely sweet, but how does he blend with his bitter partner, Andrew Hobgood (Bobby)? And Steve Ratcliff (Bud) seems a little bland for marrying zesty… both times.

The script can be confusing. In the first scenes, it’s unclear who Eleanor (Susan Veronika Adler) is. Adler brings some spice but is more seasoned for the grandmother’s role than the grown-up version of a youthful single parent. Thea Lux (Beatrice) goes to a lot of trouble to serve pancakes but seems more like a waffle eater. Lux is a quandary. What does she want? And where is she going? Her last line at the show’s end adds to the mystery.

Director Sean Kelly stages the show on a long linear stage. It’s an interesting floor plan representing a variety of rooms (scenic design by Nick Sieben). But in the cavernous Viaduct Theatre, this layout muffles some pertinent dialogue because of the obstructive angles. Sometimes the audio barrier is actually another actor standing directly in front of the speaker. From the southeast corner, a tub conversation is muffled between the submerged and the percher.

Pancake Breakfast - The New Colony - Viaduct Theatre 3

Simultaneous staged activity occurs for a horizontal visual feast, tasty or otherwise. In an initial scene, the march to the breakfast table is a light-hearted patriotic salute. Often when family gets together for a holiday, there are too many cooks in the kitchen. Relative cooking can get confusing. No need to start from scratch, Playwright Sissom just needs to clarify the recipe’s direction and whisk the lumps until smooth. Pancake Breakfast is a Rooty Tooty Fresh ‘N Fruity combo platter in the making. Order up!

  
   
Rating: ★★½
   
  

Pancake Breakfast - The New Colony - Viaduct Theatre 2

Pancake Breakfast continues thru December 19th, Thursdays through Saturdays at 7:30pm, Sundays at 3pm.  Running Time: 100 minutes with no intermission.

   
  

 

Continue reading

REVIEW: Love’s Labour’s Lost (Oak Park Festival)

A Labour of Love in Oak Park

 

Oak Park Festival Theatre's Photos - Love's Labours Lost 002

   
Oak Park Festival Theatre presents
  
Love’s Labour’s Lost
   
Written by William Shakespeare
Directed by
Jack Hickey
at
Austin Gardens, 100 block North Forest, Oak Park (map)
through August 21  |  tickets: $20-$25  |  more info

reviewed by K.D. Hopkins

Okay – sitting in the park on a buggy summer night is not exactly my idea of fun. There has to be something of worth to make this kind of sacrifice. I took a loaner lawn chair from the box office and was grateful to see that the park provided insect repellant for a voluntary donation. I gratefully slipped a buck in the jar and took my place on the lawn in Austin Gardens. There was a lovely pre-performance from the newly formed Oak Park Opera Company. A soprano and tenor performed selections from Verdi and Puccini to warm up the crowd. The music was quite beautiful and set the mood for a very cultured evening.

Oak Park Festival - Love's Labour's Lost 21011 The cast from the play mixed about on the perimeter of the stage, playing bocce in the characters of men at court. When the action began it flowed smoothly as if they really were bystanders in the park.

Love’s Labour Lost is not as popular as other works written by Shakespeare, despite the facts that it is one of his funnier plays. The language is less convoluted and ornate – but it is that simplicity that makes this a deceptive pleasure. The audience gets more of a voyeuristic look into life and the social games that may have occurred in the Elizabethan court.

Love’s Labour’s Lost is one of Shakespeare’s earlier comedies, setting the bar for future farcical comedies full of ribaldry and mistaken identity. Comedy requires a cast to work hard without appearing to try. Kudos to the cast of the Oak Park Festival Theatre for pulling off this feat with grace and skill in spite of a sound system that battled the seemingly endless parade of air traffic overhead and blaring night insects below. Also, a little program coordination would be in order so that the actors don’t have to compete with amplified street performances a block over.

I was able to tune out the distractions for the most part as the play unfolded. Adam Breske as King Ferdinand shone as the pompous monarch setting an impossible social standard on his young attendants. Joseph Wycoff played the Lord Biron with sparkle and a wink to Walter Matthau. Mr. Wycoff has a great face for the frustration and trickery that ensues. It is Lord Biron who is the last of the king’s court to agree to a vow of celibacy and intense scholarship. It is Wycoff who shows the best and funniest reaction as the one who admits his own hypocrisy last when all are revealed as having broken their vows.

Oak Park Festival - Shakespeare's Love's Labour's Lost

The performance of Stephen Spencer as Don Adriano de Amado – a fantastical Spaniard – is a wonderful mix of buffoonery with Kabuki subtlety. Mr. Spencer is also a wonderful speaker of Shakespeare’s rhythms with sharp and well-placed inflections. No pun is left unturned without perfect inflection hitting the target each time. Charlie Cascino makes brief but crazy energetic appearances as Country Wench Jaquenetta.   Ms. Cascino’s mischievous smile and frisky demeanor are perfect for scenes with the clown Costard, played with equally great skill by Bryan James Wakefield.

Richard Henzel plays the character of Holofernes, a character is pivotal to the wonderful confusion and double takes that ensue with letter exchanges and identities. Henzel is a Chicago theater veteran and takes firm command in this role. The scenes between Holofernes and Sir Nathaniel are comic gems. Two of the audience’s favorite performers are the thoroughly enjoyable Skyler Schrempp as Oak Park Festival - Shakespeare's Love's Labour's Lost 2Don Armado’s attendant Moth and Robert Tobin as Dull the Constable. They both have a gift for physical comedy and verbal timing.

Love’s Labour Lost is not one of Shakespeare’s best works in regards to women roles. Katherine Keberlein is regal as the Princess of France, but she and the other ladies in waiting do not match the frenetic energy of the people in King Ferdinand’s court. This is partially due in part to Shakespeare’s interpretation or society women of the late 1500s, as well as the also the directing choice of reigning in the female cast a bit more than the male cast members, which is a wise choice by Artistic Director Jack Hickey.

All in all, Shakespeare Under The Stars is a great idea.  You will have to make some concessions for the environmental sounds that hinder full enjoyment, but a night out in a wonderful town with a big city feel more than makes up for this. 

   
   
Rating: ★★½
   
   

 

Love’s Labour Lost plays through August 21st at Austin Gardens in Oak Park. The park is a block away from both the Metra and the Green Line. If you take the Metra please pay attention to the schedule as it has an intermittent nature (Metra schedule). It could happen that you end up in Wheaton like I did. Go early to catch the great sidewalk sales and community energy that is Oak Park. Be aware that Oak Park basically closes the sidewalks at 9:00, so either arrive in Oak Park early enough to dine at a restaurant before the performance, or bring a meal and a beverage (wine is allowed) because there is nada après theatre to be had. Check online at www.oakparkfestival.org for availability and ticket information. Bring your insect repellant or at least leave a tip in the donation jar if you use the park’s resources.

   
   

Continue reading

Review: Oak Park Theatre Festival’s “Fifth of July”

The sequel to Wilson's acclaimed Talley's Folly, which was produced by Festival Theatre in 2007. Set in rural Missouri in 1977, it revolves around the Talley family and their friends, and focuses on the disillusionment with America in the wake of an unpopular war. At once poignent and marvelously funny, Fifth of July is a compassionate portrait of a generation trying to decide whether to abandon their past or find the courage to cope with it and to begin anew. In 1978 Fifth of July was nominated for the New York Drama Critics' Circle Award for best new play and the Tony Award for Best Play. For 35 years, the Oak Park Theatre Festival has used its outdoor location to give their productions an authentic vibe and to allow their audiences to enjoy the summer weather while enjoying theatre. This works particularly well for staging Shakespearean works, which, after all, were originally produced in an open-air setting. In more recent years they have staged more modern plays in their slice of Austin Gardens’ park, carefully selecting plays that already have an outdoor setting, like William Inge’s “Picnic.” Set in the front rooms and yard of an old Missouri home, Lanford Wilson’s Fifth of July is a perfect fit for the festival’s aesthetic. Considering the production runs through June and July, it also helps that the play takes place on Independence Day and the morning following. The play is perfectly suited for a staging in a park, but the story and themes are muddled in their current production by some indecisive approaches to the play.

Fifth of July is part of a trilogy documenting the American experience of the Talley family living in Lebanon, Missouri, including the 1980 Pulitzer Prize winner, Talley’s Follies. The play takes place in 1977 and showcases the disillusionment of that era. The protagonist, Kenneth Talley, Jr. (Stef Tovar), is a gay Vietnam veteran who lost his legs in the war. His sister, June Talley (Lydia Berger), was a former hippie and now is struggling as a single mom. Both of them find little to celebrate on Independence Day. They have a big gathering of family and friends, including their Aunt Sally (Kate Kisner) and married friends John and Gwen (Brandon Dahlquist and Rebekah Ward-Hays). The holiday festivities quickly sour when friends and family start bickering about jobs, custody, and the price of the Talley household.

5th of July - poster Pamela Maurer and Alexis Vejar’s set, basically a house with select cuts made in a few of the walls, makes great use of the surroundings. The setting allows for some great stage pictures; conversations could be happening in one area of the house while other characters can be chilling out on the porch or lawn, lighting up the entire space instead of just one corner.

While director Michael Weber succeeds at balancing the stage, he fails at telling a truly cohesive story. It was difficult for me to follow any particular narrative. Important plot points weren’t really served up in any way, voiding the production of an accessible story. Instead of juggling the multiple subplots while supporting Ken’s main story (a decision of whether or not to return to teaching at his old high school), all of the stories were muddled together and none of them came out fully formed. Most of the performances were decent, although some were too over-the-top. A problem that a couple of actors had, which also contributed to the garbled narrative, was synthesizing high emotional distress almost without warning. Instead of building the tension, characters would be chatting to one another and then one would be shouting or crying all of a sudden, which doesn’t work with Lanford’s script. A technical issue that might have added to this was that the set was littered with floor mics, which I suppose helped the actors’ voices compete with passing planes and cicadas, but they also amplified every step and door slam to a distracting level. It might be a necessary evil in order for the dialogue to be heard, but it also took a toll on the overall storytelling.

Still, the Oak Park Theatre Festival is a good time, and is especially suited to summer in Chicago. One thing I learned from the locals, though, is that you should bring plenty of wine, food, and bug spray. Enjoying theatre al fresco, even if it’s not of the highest caliber, is still its own fun experience.

Rating: ««½

 
Cast and Crew
Lydia Berger (June)
Danny Bernardo (Jed)
Brandon Dahlquist* (John)
Charles Gardner (Wes)
Glynis Gilio (Shirley)
Rebekah Ward-Hays (Gwen)
Kate Kisner (Sally)
Stef Tovar* (Ken)
Kieran Welsh-Phillips (u/s Gwen & June)
Director: Michael Weber*
Stage Manager: Robert W Behr*
Costume: Ricky Lurie
Lights: Jeremy Getz
Sound: Kyle Irwin
Set: El Fish
House Manager: Jeff Weisman
Box Office: Mary Liming
* denotes member of Actors’ Equity Association