Review: MilkMilkLemonade (Pavement Group)

  
  

Gender bending, ribbon dancing and talking chickens

  
  

Matt Farabee as Emory and Cyd Blakewell as Linda in Pavement Group's production of MilkMilkLemonade, a comedy by Joshua Conkel. Photo by Joel Moorman.

  
Pavement Group presents
  
MilkMilkLemonade
 
Written by Joshua Conkel
Directed by Cassy Sanders
at Chicago Dramatists, 1105 W. Chicago (map)
through April 17  |  tickets: $20  |  more info

Reviewed by Keith Ecker

MilkMilkLemonade, Pavement Group‘s newest theatrical undertaking, has all the conventions of a children’s play. You have the highly animated narrator, talking animals, a chintzy cardboard set, a slide whistle and heaping handfuls of scenery chewing. But the adult comedy is far from kid’s stuff. The play also features exposed mock penises, an Andrew Dice Clay impression and a little boy ribbon dancing to Nina Simone. It’s in the clashing of these two genres, the traditional children’s play and the bawdy adult comedy, where the piece mines much of its humor.

 Matt Farabee as Emory and Jessica London-Shields as Elliot in Pavement Group's production of MilkMilkLemonade, a comedy by Joshua Conkel. Photo by Joel Moorman.And there certainly is a lot of humor. MilkMilkLemonade is a riot, thanks in no small part to the extraordinarily talented and committed cast. And although the play lacks an emotional depth that would raise it to a four-star level, it’s not really about thought provocation. The goal here is campy comedy on par with the likes of Charles Busch or a British panto. And in this respect, it succeeds.

The cheekily named play is about a young farm boy named Emory (Matt Farabee) who, despite his conservative surroundings, harbors fabulous dreams of singing, dancing and stardom. He is not at all modest or shy when flamboyantly proclaiming his desires to be rich and famous or when practicing his Bob Fosse-inspired routines.

Unfortunately, being effeminate in rural America isn’t easy. Emory is the focus of ridicule among his peers, including neighbor Elliot (Jessica London-Shields). Elliot is a rough-and-tough ragamuffin who unknowingly serves as host to an evil parasitic twin. Despite Elliot’s public harassment of Emory, he hides a secret affection.

Emory is looked after by his Nanna (John Zinn), a salt-of-the-earth chicken farmer who is dying of cancer. Although her maternal love for Emory is unquestionable, she worries about his sensitivity and softness.

Meanwhile, Emory has a lone confidant—a giant talking chicken named Linda (Cyd Blakewell). Like Emory, Linda too has dreams that reach beyond the farm. She wants to be a comic. Will she live to see her big break, or will she be the feature attraction on a dinner plate?

The play’s humor shines through because of the brilliance of its performers. Farabee does an excellent job countering Emory’s boyhood innocence with his lustful sultriness. Blakewell embodies the Liza Minnelli, messy best friend archetype, while Zinn brings down the house with just the mere pronunciation of the word "chickens" (he pronounces it as "chickowns"). London-Shields evokes the most emotional depth by infusing real compassion into her portrayal of a sexually confused adolescent. And Sarah Rose Graber—who fills a number of roles including the narrator and who previously showed off her acting chops in Chemically Imbalanced Comedy’s The Book of Liz (our review)—continues to display an energy and innate sense of comedy that makes her one of the finest comedic actresses in Chicago.

     
 John Zinn as Nanna in Pavement Group's production of MilkMilkLemonade, a comedy by Joshua Conkel. Photo by Joel Moorman.  Cyd Blakewell as Linda, with Matt Farabee, Jessica London-Shields and Sarah Rose Graber as judges in Pavement Group's production of MilkMilkLemonade, a comedy by Joshua Conkel. Photo by Joel Moorman.
Jessica London-Shields as Elliot and Matt Farabee as Emory in Pavement Group's production of MilkMilkLemonade, a comedy by Joshua Conkel.  Photo by Joel Moorman. Pictured front to back: Matt Farabee as Emory, Cyd Blakewell as Linda and Sarah Rose Graber as Lady in a Leotard in Pavement Group's production of MilkMilkLemonade, a comedy by Joshua Conkel. Photo by Joel Moorman.

Director Cassy Sanders certainly had her work cut out for her. The script is manic. Monologues interrupt scenes, the narrator breaks the fourth wall and wacky scenarios are paired with serious subject matter. Sanders reins everything in to create a cohesive piece that has a definite arch and a quick pace. However, I would like to see a little more fluctuation in the tone. Sanders passes up a few opportunities for emotional vulnerability that could create added depth to the production.

I also wish the playwright’s biography was listed in the program. Young New York-based playwright Joshua Conkel penned the play, which garnered several accolades, including an award for Best Off-Off Broadway Show in 2009 by New York Press. MilkMilkLemonade evidences Conkel’s strong voice, whimsy and unique sense of humor.

If you’re in the mood for a queer campy comedy, you can’t go wrong with MilkMilkLemonade. Although it’s in the style of a children’s play, the production’s adult humor is not for kids. Yet, its message of self-love is suitable for all ages.

  
Rating: ★★★½
  
  
Matt Farabee as Emory in Pavement Group's production of MilkMilkLemonade, a comedy by Joshua Conkel. Photo by Joel Moorman. John Zinn as Nanna and Matt Farabee as Emory (holding Starlene) in Pavement Group's production of MilkMilkLemonade, a comedy by Joshua Conkel. Photo by Joel Moorman.

All photos by Joel Moorman.

Featuring Cyd Blakewell, Matt Farabee, Sarah Rose Graber, Jessica London-Shields & John Zinn

     
     

REVIEW: State of the Union (Strawdog Theatre)

 

An intriguing political chess game

 

 Strawdog Theatre - State of the Union - 10/6/10 

Photo by Chris Ocken 
Copyright 2010 - www.ockenphotography.com

   
Strawdog Theatre presents
   
State of the Union
   
Written by Russel Crouse and Howard Lindsay
Directed by
Geoff Button
at Strawdog Theatre, 3829 N. Broadway (map)
through November 13  |  tickets: $15-$20  |  more info

Reviewed by Keith Ecker 

For a political play to matter much, it must prove its relevance beyond its genesis. These dramas must rise above the particulars of their time-sensitive plots and reveal to us a greater truth, something about the human condition or the faults of our society. State of the Union, the 1946 Pulitzer Prize-winning comedy, is an example of this brilliant kind of evergreen political theatre.

Written by Russel Crouse and Howard Lindsay, the play may be rooted in mid-20th century politics, but its tale of political gaming and pandering is as true today as it ever was then. And infused with the talent of the Strawdog Theatre Company, State of the Union manages to not only serve as editorial but as a charmingly funny piece of theatre.

Strawdog Theatre - State of the Union - 10/6/10 

Photo by Chris Ocken 
Copyright 2010 - www.ockenphotography.com The play centers around political outsider and businessman Grant Matthews (Michael Dailey). Republican political insiders are priming him to be the dark horse candidate in the upcoming presidential election. This includes Kay Thorndyke (Kristina Johnson), a Republican newspaper editor and not-so-secret mistress to Matthews.

Yet, Matthews gives the political bigwigs reason for hesitation when he hits the speaker circuit where he talks about timely issues from his heart rather than from any party’s platform. Much of this honesty is delivered at the behest of his wife, Mary (Kendra Thulin), who like her husband is an idealist. She believes that politicians serve their own self-interest rather than the interests of the people, and upon finding out that her husband may be running for the presidency, she pushes him to stick to his populist convictions.

Unfortunately, playing politics is a dirty game. As we get a peak behind the political curtain, we see just how much strategizing, manipulating and palm greasing actually takes place. This puts Grant in quite the pickle, pitting him against his party, his ideals, his mistress and his wife.

Although I’ve never been a politician, I can confidently say that State of the Union doesn’t seem to be too far from the truth. Look at modern-day outsider candidates like Nevada’s Sharron Angle and Delaware’s Christine O’Donnell, who, once receiving their party’s nomination, were quick to start spewing the same Republican talking points. The only difference is that Grant is a likeable and intelligent candidate, whereas his real-life counterparts are divisive and seemingly simple.

Strawdog Theatre - State of the Union - 10/6/10 

Photo by Chris Ocken 
Copyright 2010 - www.ockenphotography.com Strawdog has assembled an amazing cast. Dailey portrays grant as a sympathetic idealist. The kindness and sincerity he brings to the role helps us identify with him despite the fact that he’s a flawed husband. Likewise, Thulin provides Mary with a boldness that makes her a believably powerful force against the chummy, political insider boys’ club. Other standout performances include BF Helman as political strategist Jim Conover and Anderson Lawfer as the sassy journalist/campaign manager Spike MacManus.

Geoff Button’s direction is commendable, especially given the sheer number of entrances and exits he has to manage throughout the play, especially in the third act, which is one of those party scenes that literally fills the room with colorful characters.

If the upcoming elections have you tiring of the theatre of politics, then why not check out some insightful political theatre? Along with voting, go see Strawdog’s snappy and relevant production of State of the Union.

   
   
Rating: ★★★½
   
   

Strawdog Theatre - State of the Union - 10/6/10 

Photo by Chris Ocken 
Copyright 2010 - www.ockenphotography.com

   
   

Continue reading