REVIEW: Medea with Child (Sideshow Theatre)

When the Goddess devours her own

 

MedeaWithChild6

 
Sideshow Theatre Company presents
 
Medea with Child
 
by Janet Burroway
directed by Jonathan L. Green
at La Costa Theatre, 3931 N. Elston  (map)
through April 25th (more info)

Reviewed by Paige Listerud

Medea With Child by Janet Burroway confronts the shallowness of modern-day existence still under the burdens of sexism, racism, age-ism, and nationalism; only these age-old fault lines are compounded further by contemporary image obsession, especially as political manipulation. It’s also a play about a (supernaturally) powerful woman reeling over lost love, lost youth, lost dignity, and, therefore, needing no more pretenses regarding motherly devotion. Sideshow Theatre Company clearly has too much fun with this material, yet they are simply co-conspiring with the playwright’s fast-paced, satirical wit and inspired juxtapositions.

MedeaWithChild4 Based on Euripides’ classic play The Medea, Media (Sojourner Zenobia Wright) acts out as the ultimate, ethno-folkloric Mommie Dearest—slaughtering her children in revenge against her husband’s infidelity and his total sociopolitical displacement of her. Burroway keeps the theme of Media’s barbarism completely intact from the Ancient Greek original but stretches its metaphor of the total stranger to its outer limits. Perhaps even more than Euripides’ heroine, Media is the eternal sister outsider.

Rising mythically out of Africa’s primordial depths, Media’s expansive, magical perception of reality extends far beyond normal human experience. As a result, she lives in the perpetual state of no one ever really getting her. She can talk on and on to slippery politico Crayon (Richard Warner) or to wayward husband Chasten (John Bonner)—but no one truly understands what she is saying and thinking.

Indeed, given their own total self-absorption with image and all its ramifications, no one around Media may even be trying. This establishes to some of most sublime contradictions in the course of the play. Glossy (Nicole Richwalsky), Crayon’s daughter and Chasten’s new secretary/squeeze, proclaims herself a feminist and claims Media as her feminist icon. But she is wrong on both counts. Media is not a feminist; her powers do not come from feminism–they come from a more primal place and go well beyond anything so dry as feminist political theory. She is what every feminist wishes she could be—especially the old school, Second Wave warriors who claimed witches for their feminist role models. Likewise, Glossy’s upstaging of Media in her affair with Chasten could hardly be recognized as a feminist act. Indeed, Glossy seems more fascinated with Media’s celebrity feminist status than any actual empowerment for herself or other women. When all is said and done, she basks in Media’s reflected glory by bedding her husband.

It’s a fine example of Burroway’s wry, twisted wit winking through the dialogue. Sisterhood is powerful; but not when young feminist sister stabs sister in the back because she has a mistaken idea of what feminism is. It may be completely mute in the company of men who have no interest in contradicting Glossy and every interest in moving Media aside for a brand, new (post-feminist?) order. It’s not just that the prospect for women’s empowerment goes down the tubes. Puerility replaces substance; swapping out Glossy for Media is like substituting The Runaways with The Spice Girls.

MedeaWithChild3 MedeaWithChild5

By no means is that the limit of this play’s comic scope. Indeed, several viewings might be needed to savor every flavorful drop of its juicy, wicked goodness. Director Jonathan L. Green has assembled a superlative cast, all evenly sure and subtle in their delivery. As Media’s children, both in their play and their prognostications about mother, Fairies (Andrew Sa) and Murmurous (Lea Pascal) have the sacrificial victim thing disturbingly down pat.

So much meticulous attention has been given to every detail in performance and design each moment brings new discoveries and revelations. Joshua Lansing’s set design not only provides versatility, it places surprises in every corner. David Hyman’s construction of Media’s costume alone deserves an award and Wright certainly wears it well. She may be a killer, but girl knows how to bring the Hoodoo Mama chic!

One thing remains peculiarly striking, however. For all the humorous and inventive ways Burroway plays with the myth of Medea and Jason of the Argonauts, Media remains comparatively serious and unable to use humor as her weapon or shield. Wright’s portrayal of Media is nothing but fiercely and sensually witty, but Media herself seems unable to step back and realize the laughable ridiculousness of Chasten’s mid-life-crisis affair with shallow Glossy. In having Media feel too much and without ironic perspective, Burroway preserves the tragicomic nature of the play—exploring, as she wishes, the dark psychodynamics of enmeshed anti-motherhood and love’s betrayal. But is she, consciously or unconsciously, re-inscribing a humorless proto-feminism in the character of Media?

At the start of the play, Crayon holds up a list of possible options for the outcome of the story, in the hope that this time no one would have to die. I didn’t see a palimony option on that list. But palimonied freedom for Media and custody of the kids for Chasten and Glossy would be a completely different play, shifting the myth from tragedy to tragicomedy to comedy. The kind of 5th century BCE political comedy that made Aristophanes famous–wherein the hero, through his trickster nature, overcame his opponents and got everything he wanted. Is Media, for all her dark power and mystical nature, still not a trickster? Does that kind of comic ending still only look good on men and not on women?

 
Rating: ★★★★
 

MedeaWithChild2

Continue reading

REVIEW: The True Story of the 3 Pigs (Emerald City Theatre)

Hamming it up for the over 5 set!

3pigs

Emerald City Theatre presents:

The True Story of the Three Pigs

By Jon Scieszka and Lane Smith
Adapted by Alyn Cardarelli
Directed by Ernie Nolan
Thru March 25th (ticket info)

By Katy Walsh

Joe Goldammer (little pig) with Ruby Aufmann The media investigates a double ham-icide. Emerald City Theatre presents The True Story of the Three Pigs. The play starts where the three pigs fairytale ends. Two pigs are dead. The wolf is in jail. Random Adjective, a reporter, has been assigned to examine the evidence. The audience is invited to accompany her as greenhorn reporters. Her investigation leads to interviews with the surviving pig, Red Riding Hood, and the wolf. The True Story of the Three Pigs is an interactive play that teaches children that there are many sides to a story and to always cover your mouth when you sneeze.

Joe Goldammer uses distinctive voices to play multiple roles: a high pitch squeak for the surviving pig, garble growls for nana wolf, and portrays Red Riding Hood as a German research expert on wolves. Although entertaining for adults, Goldammer’s best comedic moments may be lost on the little ones. Samantha Nicodemus plays Random Adjective as a fast talking reporter from the 1940’s. Nicodemus does a great job of keeping the kids connected to what’s happening by reviewing the evidence after each interview. Matt Olson is the Big Bad Wolf or Alexander T. Wolf. In two of the crime reenactments, Olson is the stereotyped Big Bad Wolf. However, when Alexander T. Wolf gets to tell his version of the story, he is a vulnerable, misunderstood wolf with allergies. Ernie Nolan  directs the action and keeps the cast animated with exaggerated gestures to elicit giggles.

pigs2It’s obvious upon entering the Apollo Theatre that Emerald City Theatre loves kids! They keep the 60-minute show interactive. Kids volunteer to come up on stage to verify huff puff results or model reporter moxie. After each interview, the audience members (i.e., greenhorn reporters) are invited to ask questions and assess the 5 W’s and 1 H (who, what, when, where, why and how). The repetitive nature of the reenactments help the younger audience members follow the story. Emerald City also adds to the children’s theatrical experience by providing coordinating gifts and games, pre-show pig-snout-making activity and post-show autographs with the cast. The kids even decide one of three endings. Applause determines what the newspaper headline will be. (for the opening performance the greenhorn reporters voted that the wolf was actually innocent)

The show promotes its target audience as 3-8 years old. Observing the children in the audience, a 5 years-or-over rating seems more realistic. Newspaper reporter, ham on a platter, German scientist – the story has some complicated elements to follow. Although the cast has colorful costumes (Ernie Nolan), the minimal scenery isn’t visually exciting. Unable to follow the story and without colorful stimulation, the pre-schoolers may become victim to the paparazzi. They don’t care about the truth! They want the three pigs fairytale.

Rating: ★★★

Helpful links:

3LittlePigs-Emerald

Matt Olson as the Big Bad Wolf (aka Alexander T. Wolf) greets greenhorn reporters Max and Ruby after the performance.


Creative team includes: Nic Jones (lighting), Joe Court (sound), Jenny Pinson (props), Joshua Lansing (technical director) and Scott Deter (stage manager)

Emerald City offers an encore run of “If You Take A Mouse To School”

Emerald City Theatre Presents
An Encore Presentation of

Mouse show image

August 6 – September 27

Emerald City Theatre is celebrating the "Back to School" season with an encore presentation of If You Take a Mouse to School, last season’s wildly popular world premiere adaptation based on Laura Numeroff and Felicia Bond‘s national bestseller.

INFO: Performing August 6 – September 27 at the Apollo Theater, 2540 N. Lincoln Avenue, this play is best suited for families with children ages 3 to 6.
Tickets are $15 (adults), and $12 (kids). For tickets and further information, call the Apollo Theater box office at (773) 935-6100 or visit emeraldcitytheatre.com.

SneezeSYNOPSIS: In a rollicking romp, Numeroff and Bond send the energetic, exuberant star of If You Give a Mouse a Cookie and If You Take a Mouse to the Movies (and his boy sidekick) into the classroom. Once at school, the mercurial mouse happily bounds from one activity to the next: he spells "a word or two" on the blackboard, conducts a science experiment, builds "a little mouse house" out of blocks, and fashions furniture for it with clay. Realizing he needs something on his new bookshelf, the ambitious critter collects paper and pencils and creates his own book, which he then wants to take home, in "your" lunch box. As animated as the whiskered student it depicts, Bond’s art lives up to expectation, featuring her customary crisp colors and kid-pleasing details. Its school setting, tried-and-true tone and popular protagonist mark this title as a winner."

PERSONNEL: If You Take a Mouse to School is directed by Ernie Nolan (Associate Artistic Director). Cast members include Matt Olson (Boy), Joe Goldammer (Mouse), and Sam Nicodemus (Various Women). Designers are Katie Schweiger (Scenic), Nathan Rohrer (Costumes), Patrick King (Lighting), Joe Court (Sound), Tara Morton (Puppets/Props), Joshua Lansing (Technical Director) and Scott Deter (Stage Manager).