REVIEW: Cherrywood (Mary-Arrchie Theatre)

Party on, Dude!

 

cherrywood

  
Mary-Arrchie Theatre presents
  
Cherrywood: The Modern Day Comparable
   
Written by Kirk Lynn
Directed by
David Cromer
at
Angel Island Theatre, 735 W. Sheridan (map)
through August 8th  |  tickets:  $13-$22  |  more info

reviewed by Katy Walsh

Fliers announce ‘Party Tonite for anyone who wants a change.’ Mary-Arrchie Theatre presents the Midwest premiere of Cherrywood: The Modern Day Comparable.  A foursome decides to host a party. They have three kinds of chips, an array of music, bottles of booze and a shots of… milk? In response to their fliers, the guests arrive and fill up the house. The usual party suspects are all present. Free loading crashers. Whiny girl. Depressed divorced guy. Unwanted neighbor. Gaggle of gals in bathroom line. P.D.A. couple on the dance floor. Hot shirtless guy. Person continually announcing ‘I’m wasted.’ Sporadic drunken wrestling. It feels, looks and sounds familiar except with a couple of twists: Somebody brought a gun. Everybody has been drinking wild wolves’ milk. People are opening boxes of their secret desires. Cherrywood: The Modern Day Comparable is a virtual reality party experience without the pressure to mingle or the aid of a cocktail.

In a large living-room-like space, the audience seats encircle the action. Closely matched in numbers, the 50+ wallflowers watch the 49 performers party. It’s such a tight fit that I needed to move my purse before a guy sat on it. Director David Cromer has gone fire-code-capacity to create an authentic party.

The proximity blurs the fourth wall completely in deciphering between the party gawkers versus goers. I consciously refrain from shouting out an answer to ‘name a good band that starts with the letter ‘A’.’ It seems like a jumbling of improv mixed in with scripted lines. Crediting playwright Kirk Lynn with some of the best lines, it’s existentialism goes rave with the ongoing philosophy ‘if you want something different, ask for it.’ Lynn writes dialogue describing cocktail banter as ‘question-answer-it-doesn’t-always-happen-like-that’ mockery. One character describes herself with ‘everything I do is a form of nodding. I want to break my neck to stop nodding.’ In a heated exchange, the neighbor jabs, ‘you remember the world? It’s the room outside the door.’ It’s genuine party chatter. Some conversations are playful. Some are deep. Some just don’t make any sense. Clusters of people are sharing philosophical drunken babble throughout the room. A gunshot brings the house of strangers together in a communal bonding alliance.

For the theatre goer looking for a break from classic plot driven shows, Cherrywood: The Modern Day Comparable is performance art. It is a ‘Party Tonite for anyone who wants a change.’ For those who wonder what Chicago actors and designers do off-season, this is an opportunity to fly-on-the-wall it. If you’ve anticipated they hang out together and party, this would be your imagined drunken haze. The who’s who of storefront theater is boozing it up. It’s a Steep, Lifeline, Dog & Pony, House, Griffin, etc. reunion bash, and man do they know how to party!

  
   
Rating: ★★★
       
    

Running Time: Ninety minutes with no intermission

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REVIEW: The Wreck of the Medusa (The Plagiarists)

Cannibal Fare for Cannibal Times

 
The Plagiarists present:
 
The Wreck of the Medusa
 
created by Ian Miller and Gregory Peters
directed by
Jack Tamburrie
at
Angel Island Theatre, 731 W. Sheridan (map)
through May 9th | tickets: $15-$20 | more info

reviewed by Paige Listerud

There are plays that you admire; since their productions are also admirable, you recommend them. There are plays that you carry with you long after you leave the theater; these you recommend highly. Then, there are plays that you wish would Plagiarists_Medusa_04052010_DSC_0534 spread like wildfire around the world and this play is one of them. The Wreck of the Medusa, created by Ian Miller and Gregory Peters, is now enjoying its world-premiere at Angel Island Theatre (home of Mary-Arrchie Theatre). The Plagiarists, who produce only original works, have been workshopping the play for at least two years, unveiling its fledgling prototype in the DCA Incubator Series in January 2009.

Such meticulous care in development was more than worth the effort. Based on the worst maritime disaster of the 19th-century, The Wreck of the Medusa relies upon multiple narratives, medias and styles to relay the horror of the event and its attempted cover-up by the French government. But the play also challenges the notion of ever really knowing what its survivors went through, especially through the vehicle of art. It’s a decidedly self-conscious play that never becomes precious about its ability to tell the truth. Rather, it generates layer upon layer of ambiguous meaning, made manifest through the disparities that crop up in narrative and perception.

In 1816, the French Naval Minister Dubouchage (Marsha Harman), under the Bourbon monarch Louis XVIII (Kasia Januszewski), appointed Viscount Hugues Duroy de Chaumareys (Andrew Marchetti) as captain of the frigate Medusa. His mission, with three other ships, was to deliver Colonel Julien-Desire Schmaltz (Christopher Marcum) as the new governor of Senegal in a peaceful handover of the colony from the British to the French. The crown chose Chaumareys based on his pedigree and Royalist loyalties—quite understandable, since Napoleon’s 100 days had embroiled France the summer before. However, they completely overlooked Chaumareys’ extreme lack of naval experience and personal knack for gross incompetence.

What was supposed to be a standard voyage turned into mind-numbing disaster. On July 2, the Medusa ran aground off the coast of Senegal. 150 passengers were abandoned on a cobbled-together raft while the captain, the governor and high-ranking officers made it to shore in two days in lifeboats. Stranded without sails, navigational equipment, or decent provisions, the passengers quickly turned on each other, to the point of murder and cannibalism. After 12 days at sea, only 15 survived from the original 150 and 5 of those died soon after rescue by the Argus, a companion ship they’d lost sight of before the wreck.

Plagiarists_Wreck Promos_02272010_0055_fade[1] The disaster resulted in absolute scandal for the newly established Bourbon monarchy. Especially when, against all government efforts to discredit them, two survivors, ship’s surgeon J.B. Henry de Sevigny (Kevin V. Smith) and geographical engineer Alexander Correard (Greg Hess) collaborated on a tell-all book about the shipwreck that spread like wildfire across Europe.

Peters and Miller’s genius employs many different points of view leading up to the abandonment of the passengers on the raft, then intricately explores the wreck’s political and cultural aftermath once its survivors have been rescued.  But the horror of the raft itself they leave to the dark pit of the imagination. Indeed, all narratives surrounding those fatal twelve days, as well as all attempts by artists to graphically depict it, seem more like the human mind struggling to comprehend unimaginably dangerous depths within the human psyche.

But for ignorant Americans, like myself, who know nothing about the Bourbon Restoration, this is fine storytelling theater–the narratives themselves contain full acknowledgement of their frailties and incompleteness. Furthermore, the absurdity of the storytelling becomes heightened by the exuberantly melodramatic rendition of the wreck that bookend the play’s straightforward sections. Here, the dark, macabre tale of The Wreck of the Medusa receives some Monty Python treatment. I have no idea whether Peters and Miller are quoting directly from W. T. Moncrieff’s The Fatal Raft, but these scenes certainly do read like a 19th-century melodrama “based on true events!” While the cast is brilliantly even and superlative in their multiple roles, Steve Wilson’s versatility stands out both as Jack Gallant, the plucky British sailor with the ridiculously pregnant pause, and as the disturbingly creepy Richefort, a stranger to whom Captain de Chaumareys inexplicably gives over command of the ship.

Other roles also stand out. Christopher Marcum’s insidiously evil Governor Schmaltz looks like the Bourbon version of the Bush/Cheney administration. His aide Griffon Du Bellay (Griffin Sharps) creates with him the perfect match made in hell. Kevin Smith so convincingly portrays the psychology of the ship’s doctor, one fears for the actor’s own sanity. Sevigny’s ratiocinated dissection of events and their effects on the minds of the survivors, including his own, cannot spare him the hallucinatory horrors of PTSD. Marsha Harmon conveys a kind of androgynous polish in her roles as Dubouchage and as the Herald for the Lord of the Tropic (Kasia Januszewski). Through it all, even on trial, Marchetti’s Chaumareys remains perfectly proper, slightly aloof, and totally clueless.

Plagiarists_Medusa_04052010_DSC_0509 Plagiarists_Medusa_04052010_DSC_0521

Greg Hess’s engineer, Correard, comes across as the play’s one regular guy. But even his ambiguities over our capacity to relay what really happened get teased out through his partnership with Theodore Gericault (James Dunn), the artist willing go to extremes to paint the truth about the raft. Gericault’s work hangs in the Louvre, now regarded as a seminal work for the Romantic Movement in painting. Several characters explore its meaning during the play. Their responses are generally ours, to any catastrophic event we get to see up close and in person.

Surely, the story of the wreck of the Medusa isn’t worse than the economic and war-as-foreign-policy wrecks into which we have so blithely and incompetently sailed. This Plagiarists production reflects our own country’s monstrous wreck—told in miniature, told in fragments, told in horror, told in farce. Perfect for a broken world, perfect for a world we have pushed to the breaking point.

 
Rating: ★★★½
 

Plagiarists_Medusa_04052010_DSC_0509

Non-Equity Jeff Nominations – Ubique & Lifeline lead

JeffAwards

 

2009 NON-EQUITY JEFF AWARD NOMINEES

PRODUCTION – PLAY
Enchanted April Circle Theatre
In Arabia We’d All Be Kings Steep Theatre
Mariette in EcstasyLifeline Theatre
The Mark of Zorro Lifeline Theatre
Our TownThe Hypocrites
Rose and the Rime The House Theatre

PRODUCTION – MUSICAL OR REVUE
The Christmas SchoonerBailiwick Repertory Theatre
Evita Theo Ubique Theatre i/a/w Michael James
Jacques Brel’s Lonesome Losers of the Night Theo Ubique Theatre i/a/w Michael James
The Robber BridegroomGriffin Theatre
Woody Guthrie’s American Song – Blindfaith Theatre

DIRECTOR – PLAY
Nathan Allen – Rose and the RimeThe House Theatre of Chicago
David CromerOur Town The Hypocrites
Elise Kauzlaric – Mariette in Ecstasy Lifeline Theatre
Joanie Schultz – In Arabia We’d All Be Kings Steep Theatre
Rick Snyder – Men of Tortuga Profiles Theatre

DIRECTOR – MUSICAL OR REVUE
Fred Anzevino – Evita Theo Ubique Theatre i/a/w Michael James
Fred Anzevino – Jacques Brel’s Lonesome Losers of the Night Theo Ubique Theatre i/a/w Michael James
Mary Beidler Gearen – The Christmas SchoonerBailiwick Repertory Theatre
Paul S. Holmquist – The Robber Bridegroom Griffin Theatre
Nicolas Minas – Woody Guthrie’s American Song – Blindfaith Theatre

ENSEMBLE
Evita Theo Ubique Theatre i/a/w Michael James
In Arabia We’d All Be Kings Steep Theatre
Mariette in Ecstasy Lifeline Theatre
Men of Tortuga Profiles Theatre
Our Bad Magnet Mary-Arrchie Theatre
Woody Guthrie’s American Song – Blindfaith Theatre

ACTOR IN A PRINCIPAL ROLE – PLAY
Don Bender – Old Times City Lit Theater
Esteban Andres Cruz – Jesus Hopped the ‘A’ Train Raven Theatre
James Elly – The Mark of ZorroLifeline Theatre
Ryan Jarosch – Torch Song Trilogy – Hubris Productions
Brian Parry – ShadowlandsRedtwist Theatre
Brian Plocharczyk – After Ashley Stage Left Theatre
Bradford Stevens – Jesus Hopped the ‘A’ Train Raven Theatre

ACTOR IN A PRINCIPAL ROLE – MUSICAL
Courtney Crouse – Jekyll & Hyde: The Musical Bohemian Theatre
Chris Damiano – EvitaTheo Ubique Theatre i/a/w Michael James

ACTRESS IN A PRINCIPAL ROLE – PLAY
Brenda Barrie – Mariette in Ecstasy Lifeline Theatre
Laura Coover – Blue SurgeEclipse Theatre
Cameron Feagin – Private Lives City Lit Theater
Nancy Freidrich – The Dastardly Ficus and Other Comedic Tales of Woe and Misery The Strange Tree Group
Betsy Zajko – Beholder Trap Door Theatre

ACTRESS IN A PRINCIPAL ROLE – MUSICAL
Laura McClain – The Christmas Schooner Bailiwick Repertory
Maggie Portman – Evita Theo Ubique Theatre i/a/w Michael James
Rachel Quinn – Gentlemen Prefer Blondes Circle Theatre
Bethany Thomas – Belle Barth: If I Embarrass You Tell Your Friends Theo Ubique Theatre i/a/w Michael James

SOLO PERFORMANCE
Janet Ulrich Brooks – Golda’s Balcony Pegasus Players
Alice Wedoff – The Shape of a Girl Pegasus Players

ACTOR IN A SUPPORTING ROLE – PLAY
Paul S. Holmquist – The Picture of Dorian Gray Lifeline Theatre
Matthew Sherbach – The Further Adventures of Hedda Gabler Dog & Pony Theatre
Kevin V. Smith – Our Bad Magnet Mary-Arrchie Theatre
Madrid St. Angelo – A Passage to India Premiere Theatre & Performance i/a/w Vitalist Theatre
Jon Steinhagen – Plaza SuiteEclipse Theatre
Nathaniel Swift – Blue Surge Eclipse Theatre

ACTOR IN A SUPPORTING ROLE – MUSICAL
Chris Damiano – Jacques Brel’s Lonesome Losers of the Night Theo Ubique Theatre i/a/w Michael James
Chris Froseth – Woody Guthrie’s American Song – Blindfaith Theatre
Jim Sherman – The Christmas SchoonerBailiwick Repertory Theatre

ACTRESS IN A SUPPORTING ROLE – PLAY
Susan Veronika Adler – Torch Song Trilogy Hubris Productions
Jeannette Blackwell – The Further Adventures of Hedda Gabler Dog & Pony Theatre
Nora Fiffer – The Autumn Garden Eclipse Theatre
Mary Hollis Inboden – Torch Song TrilogyHubris Productions
Elise Kauzlaric – On the Shore of the Wide World Griffin Theatre
Lily Mojekwu – Greensboro: A RequiemSteep Theatre
Rinska Prestinary – In Arabia We’d All Be Kings Steep Theatre
Mary Redmon – Enchanted April Circle Theatre

ACTRESS IN A SUPPORTING ROLE – MUSICAL OR REVUE
Amanda Hartley – The Robber Bridegroom Griffin Theatre

NEW WORK
Tony Fiorentino – All My Love – Diamante Productions
Robert Koon – Odin’s HorseInfamous Commonwealth Theatre
Frank Maugeri & Seth Bockley – Boneyard PrayerRedmoon Theater
Andrew Park – The People’s History of the United States Quest Theatre Ensemble
Ken Prestininzi – Beholder Trap Door Theatre

NEW ADAPTATION
Fred Anzevino, Arnold Johnston & Joshua Stephen Kartes – Jacques Brel’s Lonesome Losers of the Night Theo Ubique Theatre i/a/w Michael James
Cristina Calvit – Mariette in EcstasyLifeline Theatre
Robert Kauzlaric – The Picture of Dorian Gray Lifeline Theatre
William Massolia – Be More Chill Griffin Theatre
Terry McCabe – Scoundrel Time – City Lit Theater Company
Katie McLean – The Mark of Zorro Lifeline Theatre

For Production and Artistic Team nominations, click on “Read More

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Mary-Arrchie’s "Our Bad Magnet" extended thru Jan. 18th

Due to popular demand, Mary-Arrchie Theatre will be extending the Jeff Recommended US Premiere of Our Bad Magnet, by Douglas Maxwell, at Angel Island Theatre, 735 W. Sheridan .

Currently, the final dates for 2008 will be December 18th – 22nd. The extension, then, will begin January 2nd and run through January 18th, 2009.

Kevin V. Smith, John Wilson, Layne Manzer, Daniel Behrendt

L to R: Kevin V. Smith, John Wilson, Layne Manzer, Daniel Behrendt

Press accolades:

“well-cast American premiere…features some breathtaking moments…one of the most effective and surprising endings I’ve seen in a while…” – Chicago Tribune

“For anyone who wants to experience joy, sadness, and the potential to be moved to tears in their holiday theater-going experience, don’t miss Our Bad Magnet.” -Edge Chicago

“Maxwell’s play is rich, moving, funny and real, and well served by Carlo Lorenzo Garcia’s direction, which keeps the right balance of tension and humor. All four actors are excellent” -Centerstage Chicago (Must See Show)

Layne Manzer, Daniel Behrendt, John Wilson

L to R: Layne Manzer, Daniel Behrendt, John Wilson

More accolades:

“drama’s U.S. premiere is helped by Garcia’s note-perfect cast” -Time Out Chicago

“the amorphous ending is a thing of almost transcendental beauty, a surreal and unknowable benediction from some vast, benevolent god.” -Windy City Chicago

“This cliques with me” CheekyChicago.com

Visit the theatre company’s website for more info: www.maryarrchie.com/now.html

 

Daniel Behrendt, John Wilson, Layne Manzer

L to R: Daniel Behrendt, John Wilson, Layne Manzer