Review: Arms and the Man (Saint Sebastian Players)

  
  

Wrap your arms around this play!

  
  

Arms and the Man by George Bernard Shaw - presented by Saint Sebastian Players

  
Saint Sebastian Players presents
 
Arms and the Man
  
Written by George Bernard Shaw
Directed by
Jim Masini
at
St. Bonaventure Church, 1625 W. Diversey (map)
through March 13  |  tickets: $15  |  more info

Reviewed by K.D. Hopkins

I always look forward to what I consider classics. I love Shakespeare, Wilde, and yes George Bernard Shaw. It’s the stuff that I had to read and write reports about in high school. Shaw has a special place in my heart for his character development, especially the female characters. In Arms and the Man, the female characters are wise, witty, and multidimensional, especially in light of the time period portrayed.

Arms and the Man - Saint Sebastian Players 05The actors in the Saint Sebastian Players’ production are pitch-perfect in this production directed by company member Jim MasiniKelly Rhyne plays the role of Raina Petkoff with coquettish aplomb and a dash of spicy feminism. Yes – feminism, which manifests itself in many way; here as a fiery, girlish, woman of power. Rhyne is a radiantly beautiful young actress, perfectly cast as the aristocratic Raina with her glowing ivory skin and delicate features. She looks as if she were really related to Melissa Reeves, who plays the archly funny matriarch Catherine Petkoff, whose comic timing and subtle physicality is a hallmark of Shavian comedy (also at home in the work of Oscar Wilde).

Drew Longo as Captain Bluntschli is reminiscent of Giancarlo Giannini in Wertmuller’s “Seven Beauties”. The exhaustion from battle, the hunger, and the desperation all play across Mr. Longo’s face – and he is hysterically funny. The dialogue is given the full weight of irony that is so essential to a comedy or farcical presentation of high society.  And the scene where Longo gobbling up the chocolates from Raina’s bureau is poignant and funny because of how well the characters interact.

Another brilliant bit of casting is Victoria Montalbano as the maid Louka. Ms. Montalbano gives great face to the all-knowing servant. Shaw illustrates the hypocrisy of elite society with the lower classes. The coercive sexual mores are turned on their heads in this work as Louka holds the aces. What a feminist she is! Her character shuns the dreary and dependable suitor, Nikola, played by the wonderful Chris McGillivray. The life of being the manservant’s wife who is taken behind the topiary is no life for her. Mr. McGillivray is also poignantly funny as the schlumpy manservant, having a great face for comedy, as perfectly witnessed as he offers the blue satchel around the room of characters.

        
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This production also stars two of the finest fall guys that I have seen in a while. Greg Callozzo as Major Petkoff is near genius in the puffed up buffoonery of nouveau riche in epaulets. The hair and the expressions fit the character’s obliviousness to what is hitting the fan and the electric bell in his home. The dialogue about bathing is just choice. Charles Askenaiser as Major Sergius Saranoff is wonderfully farcical as well. He portrays the silliness of the privileged officer braggart exquisitely.

Arms and the Man resonates to this day as a portrait of the futile nature of military war, the war between social classes, and the wars of the sexes. The human imperative to dominate obscures meaningful purpose and puts up blocks to true connection.

Emil Zbella’s sets are quite lovely and authentic-looking for turn of the 19th century. The brocades and floral patterns are fun and well designed. I loved the oh-so-special library that Lady Petkoff speaks of in proud tone and the look on her face when she pushes the electric bell is just great. The costumes (Tina Godziszewski) are fun and also appear quite authentic for 1885. There are bustles, furs and parasols (I want that fur night cloak that Raina wraps in when the bedraggled Captain Bluntschli invades her dainty bedchamber!). The wigs and hair are worthy of an operatic wig master. When I saw the actors after the show it was hard to tell who was who. That is a sign of a great production where the actors disappear into the characters on stage. They were just as gracious off stage. Go see this play. It is fun and goes way beneath the surface. The more the world changes-the more it stays the same.

  
  
Rating: ★★★★
  
   

Arms and the Man - Sebastian Players - setArms and the Man continues through March 13th at Saint Bonaventure Parish at Diversey and Ashland n Chicago. This play is part of the 30th Anniversary season for theatre company. Visit the website for more information www.saintsebastianplayers.org


Artists

 

Cast: Kelly Rhyne* (Raina Petkoff), Victoria Montalbano* (Louka), Charles Askenaizer (Major Sergius Saranoff), Greg Callozzo (Major Petkoff), Drew Longo (Captain Bluntschli), Chris McGillivray (Nikola), and Melissa Reeves (Catherine Petkoff).

Production: Jim Masini (director), Emil Zbella (set designer), Tina Godziszewski  (costume design) Mansie O’Leary (costume design) Kalin Gullberg (lighting design), Leah Cox (dramaturg), Adam Seidel* (set construction manager), Don Johnson* (sound design), Al Cerkan* (stage manager), Mary Whalen* (properties manager), John Oster (photos), Nancy Pollock* and Jill Chukerman Test* (co-producters).

*Saint Sebastian Players member

  
  

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REVIEW: Cash on Delivery (Saint Sebastian Players)

 

Spinning Plates

 

Cash on Delivery - Saint Sebastian Players 2

   
Saint Sebastian Players present
   
Cash on Delivery
   
Written by Michael Cooney
Directed by
Jonathan “Rocky” Hagloch
at
St. Bonaventure Church, 1625 W. Diversey (map)
thru November 14  |  tickets: $10-$15   |  more info

reviewed by Lawrence Bommer

Identity theft is usually not the stuff of combustible comedy. But when it’s tied up with and results in mistaken identities, mixed signals, ill-timed interruptions and the rest of the detritus of classic farce, confusion can be critically comical. Michael Cooney, son of Ray (“Run for Your Wife”) Cooney, clearly learned from his father all the literal ins and outs of vintage farce with its slamming doors and self-fulfilling folly. The big difference here is that Cash on Delivery is no bedroom farce (though there’s some genuine confusion about supposed gay or cross-dressing activity). No, here the impetus is an elaborate and perilous fraud perpetrated by Chicago landlord Eric Swan against the Social Security Administration. It seems that the S.S.A. has inundated the opportunistic Eric with claims for a former tenant that, with a little scamming and false filings, mushroomed into $65,000 per year’s worth of multiple deceptions for unemployment, disability, medical and many other false benefits that this unemployed husband just didn’t have to courage or rectitude to decline.

Cash on Delivery - Saint Sebastian Players Of course, living a lie is a lot more taxing (so to speak) than sticking to the simple truth. It all threatens to elaborately unwind as Mr. Jenkins, a nerdy S.S. investigator, comes by for two simple signatures for some required paperwork. That’s all it takes for Cooney to unleash a flood of desperate cover stories as one lie contradicts another and Eric’s house of prevarication comes slowly tumbling down over the next 140 minutes. To pull off the crazed complications (which recall the excesses of Weekend with Bernie grafted onto Lend Me a Tenor) that eventually yield to the straightforward truth and a plausible happy ending requires the usual tour de force of timing, mugging, slow burns, costume switches, double faces, switcheroos, cover-ups, and other comic machinery.

Jonathan Hagloch’s ten actors pull off the shenanigans fairly well, with Greg Callozzo spinning the plates without dropping any (a metaphor taken from the old “Ed Sullivan Show”): Flagrantly and with multiplying mania, his Eric tries to keep his stories straight, with inept help from his upstairs tenant (busy Doug Werder). It helps that the other characters are credulous enough to be taken in by their sham show, most particular an increasingly hysterical Angela Bullard as Eric’s tormented wife, Michael Wagman as the nebbishy S.S. investigator, and Lyn Scott as his battleaxe supervisor. Jim Masini gets battered into unconsciousness as Eric’s venal uncle. The others play an overly helpful family crisis counselor, an officious undertaker, the neighbor’s frazzled fiancée, and a marriage counselor who adds his own befuddlement to this toxic mix.

With silly stuff like this, it’s more important to play it quickly than smoothly. Only in the overlong second act, where the playwright seems to be showing off his ability to keep the lies separate but equal, does the plot thicken into more turgidity than hilarity. But the audience never stops laughing throughout and that’s how you know a farce has force. You don’t have time to wonder why the S.S.A. makes house calls or a social worker can instantly arrange a funeral on the spot. The jokes come faster than any saving skepticism that might stop them in their tracks. Of course, we wouldn’t have it any other way.

   
   
Rating: ★★★
   
   

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