REVIEW: Winter Pageant 2010 (Redmoon Theater)

 

TV-inspired ‘Pageant 2010’ pales next to previous editions

 

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Redmoon Theater presents
  
Winter Pageant 2010
   
Created and directed by Seth Bockley
Redmoon Central, 1463 W Hubbard  (map)
Through Jan. 2   |  
Tickets: $10–22  |  more info

Reviewed by Leah A. Zeldes

Redmoon Theater’s nearly annual, alternative take on an all-ages family holiday show, Winter Pageant, typically showcases the progression of the seasons and celebrates the return of spring, while avoiding religion, hackneyed holiday themes and Christmas commercialism. This year, alas, it also avoids innovation and runs short on pageantry.

A takeoff on the early-1970s TV sitcom "The Partridge Family," the show, just over an hour long, follows Rita and the Seasons, a family band consisting of Rita (Kasey Foster) and her four children, Summer (Eric Prather), Fall (Alex Knapp), Winter (Carly Ciarrocchi) and Spring (Matt Rudy, played on opening night by understudy Felicia IMG_7127Bertch). It’s 153 years after their ’70s success and the family are now all cotton-wigged, doddering geriatrics — depicted with a full complement of cheap, stereotypical jokes about dimwitted, disabled old people, from shaky Rita in  orthopedic oxfords and pastel print housedress to Summer in unzipped plaid pants to an unfocused Fall with a walker. Still the ruling matriarch of her clan, Rita receives an unexpected package one day, which proves to be a magical box of memories of the group’s heyday that temporarily restores them to youthful vigor.

Each band member then reenacts his or her personal hit. The original music by Mikhail Fiksel, with lyrics by Creator/Director Seth Bockley, takes us on a mini-tour through 1970s musical styles, with Rita’s funk, surf rock from Summer, folk-rock from Fall and Winter and bubblegum pop from Spring, the baby of the family. The songs are bouncy and the singers good — these are the best parts of the production — but the show’s creativity seems to have stopped there.

More intimate than Redmoon’s usual spectacles, this show is mainly set on a small stage with only a few props. It’s all done with artistry, but there’s little here we haven’t seen before. No marvelous new gadgets or impressive puppetry mark this year’s pageant. It features such typical Redmoon tropes as scrolling cantastoria, shadow  puppets, a few rod puppets and some ugly quilted soft toys, which carry out the cartoonish theme of the appliqued fabric backdrop. The glass-headed astronaut costume makes its inevitable appearance, accompanied by a cute space cow and the inexorable bubble machines.

DSC_0981"This year, we have been inspired by the sounds of classic rock and roll, and influenced by vintage cartoons and nostalgic T.V. shows," wrote Bockley in the program. "These forms of entertainment are a common language across generations."

Maybe so, but they’re a tired one. It’s disappointing to see Redmoon, which has produced such magical and creative performances in the past, turning to television for its inspiration, and such tiresome TV at that. Even its star, teen heartthrob David Cassidy, thought "The Partridge Family" was silly and saccharine.

If you’re willing to expose your kids or grandkids to TV-based comedy that mocks the elderly, they’ll likely have a good time. Nostalgic Baby Boomers who aren’t sensitive to digs about aging may enjoy it, too. I’m not sure what’s there for the generations in between, except amusement at the quaintness of the entertainments of their elders and reinforcement of youth’s smug conviction that they’ll never get old.

   
   
Rating: ★★
   
   

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REVIEW: The Twins Would Like to Say (Dog & Pony Theatre)

The curious case of Jennifer and June

 

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Dog & Pony Theatre presents:
 
The Twins Would Like to Say
 
Written and directed by Devon de Mayo and Seth Bockley
Steppenwolf Garage Theatre, 1650 N. Halsted (map)
through April 25th (more info)

reviewed by Catey Sullivan 

Note: This review was originally published on March 1 on Chicago Examiner.com

Just like the titular twins, you can’t escape mirror images in The Twins Would Like to Say. With Dog & Pony’s innovative examination of the curious case of June and Jennifer Gibbons, ever-shifting halls of mirrors offer both literal reflections of the twins’ lives and a metaphor for them.

twins-and-dadWritten and directed by Devon de Mayo and Seth Bockley, the staging for the Steppenwolf Theatre’s Garage Rep series was inspired by the Gibbons twins, born in 1963. As children, the pair made a pact to do everything in absolute unison, and to speak with no one but each other. Extraordinarily, they succeeded for 20 years, all but entirely silent outside the confines of their bedroom, despite the frustrated efforts of their parents and a cadre of psychiatrists who remained utterly stumped. When separated, the twins became catatonic.

Their lives are whitewashed a bit here – June and Jennifer’s lengthy criminal records, tragic incarceration and Jennifer’s early death are glossed over in a dreamscape of stylized movement. Yet from the lookalike parrot puppets that open the show to the two simultaneously played sorrowful scenes that end it, The Twins Would Like to Say is cryptic, playful and innovative.  

Bockley’s deft at intermingling sadness, beauty and sound (if you saw Boneyard Prayer, you don’t need us to tell you that). de Mayo’s ability to configure a story into non-linear, non-traditional formats received a well-deserved and high-powered spotlight  with Dog and Pony’s The Vivian Girls, which she devised and directed. Together, the pair constitutes a dream team of unexpected storytelling.

The Twins Would LIke to Say is theater as a tumble down the rabbit hole and into an ever-shifting funhouse maze where reality is warped and the line separating fantasy from reality is fluid. By using a promenade staging, Bockley and de Mayo ensure the audience is an active part of the story –  Rather than sit back and watch as they might with traditional stagings, ticket holders have to participate, moving from room to room as the scenes progress.

The audience’s entrée through the lookingglass is Mr. Nobody (Nick Leininger, a winning mix of the sinister and the sympathetic ), who ushers the audience behind a curtain with the flourish of a side-show huckster keen to have the audience to learn about some strange unknown world rather than just gawk at it.

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The first visual we get of June (Paige Collins) and Jennifer (Ashleigh LaThrop) is both spooky and enthralling. Standing stock still at the dead end of a long hall, the girls stare out with dead eyes, an adolescent vision of those twins from the Overlook Hotel in “The Shining.” 

The promenade structure isn’t without drawbacks. Among them: You’d have to see the piece at least twice to take in it all in. See it only once, and you’re forced to choose between scenes. Eavesdrop on the twins’ psychologist (Kasey Foster) trying to make sense of their behavior, and you become keenly aware that you’re missing what’s going on elsewhere, as dialogue floats in from some unseen periphery. No matter how deft the performances or compelling the action, you’re often left wondering if you’ve made the right choice – and if something more interesting is going on just around the corner.

That shortcoming is especially evident in the final scene, when the audience is split in half and divided by an opaque black curtain. Too say that missing half of the piece’s conclusion is immensely frustrating is an understatement.

That aside, the performances in The Twins Would Like to Say are marvelous, cryptic, playful depictions of people living in a world that’s half stylized fantasy and half brutal reality.

Collins and Ashleigh are wonderful, giggling and whispering in their room like teenage girls the world over up; silent, sullen and above all fearful whenever they’re forced to contend with the outside world. As their taunting, eerie classmates Kathryn Hribar and Teeny Lamothe are cruel and typical teens, shrill voices and nasal giggles evoking a thousand mean girls nightmares. (In real life, Jennifer and June were bullied so badly, their school allowed them to leave 5 minutes early, so as to get a head start on the kids who wanted to beat them up.)

As the twins mother Gloria, Millie Langford is the kind, patient, enabling opposite of the twins father Aubrey (Brandon Boler), whose tough love cruelty results in a cacophony of torment when the twins are forcibly separated.

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To depict the intricate fantasies that June and Jennifer spun by filling journals full of elaborate fictions, de Mayo and Bockley stage plays-within-the-play, bringing the pulp fiction storylines and outrageous sexuality of  such dubious works as  “The Pepsi Cola Addict” and “Discomania” (Dan Stermer’s disco choreographer is absolutely delicious). Andrea Everman’s shadow puppets also make the twins’ stories pop with vibrance. All seen in silhouette, a snarling dog, a dying boy and a bereaved father takes on emotional resonance rich in childlike poignance.

The Gibbons lives are by no means completely rendered here, but that hardly matters. What we do get in the 60-minute production is a chance to enter an alternate universe of intricate storytelling.

 
Rating: ★★★½
 

The Twins Would Like to Say  runs through April 25 in the Steppenwolf Garage, 1624 N. Halsted.  Tickets are $20, $12 students and pay-what-you-can Wednesdays. A three-play pass to the Garage Rep series also including XIII Pocket’s Adore (our review ★★½) and Pavement Group’s punkplay (our review ★★★) is $45. For a performance schedule and ticket information, click here or go to http://www.steppenwolf.org.

 

 

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