Review: There Is a Happiness that Morning Is (Theatre Oobleck)

  
  

A witty, cerebral look at love in all the wrong places

  
  

Diana Slickman, Colm O’Reilly and Kirk Anderson in Theater Oobleck’s “There Is a Happiness That Morning Is”. Photo by John W. Sisson, Jr.

  
Theatre Oobleck presents
  
There Is a Happiness that Morning Is
   
Written by Mickle Maher
at DCA Storefront Theater, 66 E. Randolph (map)
through May 22  |  tickets: pay what you can  more info

Reviewed by Katy Walsh 

The college watches two people have sex on the quad.  Shocking… especially because the public intercourse is between teachers who will enter courses the morning after.  Theatre Oobleck presents There Is a Happiness that Morning Is. Two poetry professors consummate decades of collaboration. The next day, they acknowledge the super-sized P.D.A. in very different ways.  A barefoot Bernard is in full bloom with twigs and leaves sticking out of his hair and pants.  He poetically states ‘I happy am‘ but wants to apologize for the visual spectacle.  A pulled together Ellen owns the intimacy to her class but not necessarily to Bernard.  And she absolutely refuses to ask for pardon from the college. They teach unrelated but related lessons on William Blake’s poetry.  Discourses of ‘Infant Joy‘ versus ‘The Sick Rose‘ probe happiness and dark secret love.  The Colm O’Reilly and Diana Slickman in Theater Oobleck’s “There Is a Happiness That Morning Is”. Photo by John W. Sisson, Jr.separate verses are interrupted by the college president’s twisted reveal. There Is a Happiness that Morning Is is a witty, cerebral look at love in all the wrong places.

Playwright Mickle Maher pays homage to 18th-century poet William Blake with this show.  Maher builds the action from two characters’ interpretations of two different poems.  It’s living verse as the professors reflect on their intellectual and physical connection to the words.  As an Oobleck practice, the story unfolds without a director.  The devised piece works with the cast’s obvious synergy in storytelling.   Looking like Timeout’s Kris Vire’s brother, Colm O’Reilly (Bernard) is hilarious using his fornication as education.  A starry-eyed O’Reilly teaches a lesson in ‘at last I am this poem.’  Diana Slickman (Ellen) counters O’Reilly’s flowery romanticism with no-nonsense practicality.  Slickman’s drollery entertains with a he-said/she-said discourse.  Overlapping lectures set in different times are particularly amusing as he pours his heart out and she takes attendance. In an opposites attract way, O’Reilly and Slickman’s mismatch heightens the humor.  Kirk Anderson (James) surprises with his arrival and adds another kink(y) to the lovemaking.  Anderson deadpans his buffoonery with lighthearted results.

‘Love makes all the difference. With love, all things are better.  Love makes a magic zone.‘  Poets write about love.  Poetry professors interpret the meaning of love… from their own personal experience. There Is a Happiness that Morning Is is a clever, intellectual love lesson.  Although avid readers of poetry will sustain a higher level of pleasure, this course is a stimulating perusal for anyone! 

  
  
Rating: ★★★
  
  

Diana Slickman, Kirk Anderson and Colm O’Reilly in Theater Oobleck’s “There Is a Happiness That Morning Is”. Photo by John W. Sisson, Jr.

There Is a Happiness that Morning Is continues through May 22nd at the DCA Storefront Theater, with performances Thursdays-Saturdays at 7:30pm, Sundays at 3pm.  Tickets are pay-what-you can ($15 donation suggested), and can be reserved online or by calling the box-office at 312-742-TIXS.  Show running time: Ninety minutes with no intermission.  More info here.

        

Continue reading

Review: The Wedding (TUTA Theatre)

     
     

TUTA’s garishly manic wedding holds more potential

     
     

A scene from 'The Wedding' by Bertolt Brecht, re-mounted by TUTA Theatre of Chicago

  
TUTA Theatre presents
  
The Wedding
  
Written by Bertolt Brecht 
Directed by
Zeljko Djukic 
at
Chopin Studio Theatre, 1543 W. Division (map)
through March 6  |  tickets: $25-$30   |  more info

Reviewed by Paige Listerud

The wedding party is back! Under the direction of Zeljko Djukic, TUTA Theatre remounts its wildly successful production of Bertolt Brecht’s The Wedding, an early comedy about a wedding dinner filled with obnoxious and unpredictable guests. Having triumphed with last year’s production (see our review), TUTA is having another go.

TUTA Wedding #3Andy Hager is back at his panty-sniffing best as the Bridegroom’s Friend. As the Bride’s Father, Kirk Anderson holds court once again with the unbearably tangential and grotesque stories. As Bride and Bridegroom, Jennifer Byers and Trey Maclin regale once more as the newlywed couple that strives too hard to impress people they don’t like. Meanwhile, Jacqueline Stone (The Wife) and Jaimelyn Gray (The Bride’s Sister) again take lusty feminine mischief to fabulous extremes.

Ariel Brenner, Sean Ewert and Jake Lindquist join the cast to take on the roles vacated by Laurie Larson, Christopher Popio and Ben Harris. TUTA’s rehearsal process for its remount was terribly short and it shows. Hardly enough time has been allowed to let the new cast members jell with the old. Gone is the near seamlessness by which TUTA conveyed these Weimar Era characters’ jaded frustrations, cynicism and anxiety over class. Another weekend of performances will probably warm up the whole cast to the old Wedding magic, but it shouldn’t be left for too long. Part of the genius of the earlier production was the way madness fluidly sprouted in one corner while a guest struggled to win the center of attention in another.

That said, there’s potential for fresh manic humor from the incorporation of new blood. Brenner plays the Bridegroom’s Andy Hager as Bridegroom's Friend in the remount of TUTA Theatre's 'The Wedding' by Bertolt Brecht.Mother with a little more mischief and flirtatiousness than Larson did—Larson had a mother’s scowl that could sour milk and make mares give birth to deformed foals. Ewert’s Husband sympathetically depicts a man who may actually love his Wife, whatever his demons may be—or hers. Finally, Lindquist sings with a little more vaudeville bravado than did Harris in the role of The Young Man. There is much new here for the cast to work and play with, hopefully with exciting results.

Audiences will still find much to enjoy at The Wedding. The bones of Djukic’s direction are still strong. Jesse Terrill’s original compositions hold up very well, and the incorporation of pop tunes sets the right distancing tone for commentary upon the selfish, self-absorbed action of the guests. And then there’s the Jello—from a jiggling entrée of cod to jiggling desserts, nothing portends wedding disaster like garishly colored food that just won’t stay still.

  
  
Rating: ★★★
  
  

Scene from TUTA's production of 'The Wedding' by Bertolt Brecht

   
  

Continue reading

REVIEW: The Wedding (TUTA Theatre Chicago)

Over the Top and Into Your Panties

 wedding1

TUTA Theatre presents:

The Wedding

 

By Bertolt Brecht
Translated by Martin and Rose Kastner
Directed by Zeljko Djukic
thru February 14th (ticket info)

by Paige Listerud

You can keep Mother Courage or The Threepenny Opera—for me, right now nothing expresses Bertolt Brecht’s rage against the bourgeoisie like The Wedding, his early 70-minute lampoon of the middle class at play. But then, the folks at TUTA really know how to bring it. Their production onstage at Chopin Theatre’s downstairs studio is an almost ceaseless cascade of escalating inappropriateness. Like so many over-the-top family get-togethers, once drinking is in full swing, the loosing of social bounds leads to some pretty dark places.

wedding4 It’s a show to return to again and again. Zeljko Djukic’s superb cast wrings high schadenfreude out of every moment of humiliation and disappointment. Meticulous is the word that could describe each ensemble member’s performance—the most minor reactions between them give both humor and weight to wedding party developments–only it’s too dry and sanitized a term to describe all that really goes on. No, satire evolves both naturally and perversely from both unspoken and exposed disillusionments with relationships, marriage, and family. More essentially, they know how to play people both bored and boring, utterly irritated with each other from start to finish, doing everything to break each awkward silence and reaching extremes to fill each oppressively meaningless minute.

For sheer outrageousness, Andy Hager takes the crown, mostly because his character’s voyeuristic craving for poon tang doesn’t know the meaning of discretion and, since Paris Hilton or Lindsay Lohan are nowhere in sight, he must do the best he can with women in present company. Add a down-low tango, mixed with a naughty little ditty about bangin’ girls and you’ve got the kind of depraved degenerate you’d like to pass the time with at the next stultifying wedding you must attend—if only you could keep him far away from your sister.

wedding2 Djukic’s direction is a confident but invisible hand in the middle of all the mania, allowing mischief to blossom in the most unexpected corners while never allowing it to distract focus. And he knows how to coax the action back to its comic center once things have gone too far and Brechtian darkness beneath the levity shows its ugly head. Original music by Jesse Terrill contemporizes Brecht’s farce and provides the characteristic distancing necessary to comment on the action. A Greek chorus unto herself, aided by only scant few lines, the Bridegroom’s Mother (Laurie Larson) comments on the action by the force of baleful looks alone.

But an otherwise unstoppable production grinds to a clunking pace once Bride (Jennifer Byers) and Bridegroom (Trey Maclin) finally have been relieved of their obnoxious guests. If the dramatic choice is to show lack of chemistry between the newlyweds, it might be well to reconsider it. After all, passion is always a two-edged sword with Brecht. Love suffers from entropy as surely as any edifice and passionate hatred often emerges from the same messy, primordial, and unpredictable place as passionate love.

 

Rating: ★★★½

The Wedding runs January 14 – February 14, 2010, at Chopin Theatre Studio, 1543 W. Division, Chicago. For tickets call 847-217-0691 or go online to www.tutato.com

wedding3

Continue reading