REVIEW: Ring around the Guillotine (Chemically Imbalanced)

Time travel for the jilted

 

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Chemically Imbalanced Theater presents
 
Ring Around the Guillotine
 
Written by Chris Tawfik and Anthony Ellison
Directed by Anthony Ellison
at
CI Theater, 1420 W. Irving Park (map)
through May 23rd (more info)

By Katy Walsh

The cure for being dumped? Finding love in an unexpected place and time… like a prison 600 years ago. Chemically Imbalanced Theater presents Ring Around The Guillotine, a lustful comedy about time travel. In modern day, Tyler is drinking away her break-up. Her supportive coworker gives her a gift of an antique ring and rose. Putting on the ring, Tyler is transported back in time to Magical France. The country is in duress. The queen and king are mourning the death of their daughter and lamenting the ambitions of their son, Carvier. Tyler beams into Carvier’s jail cell, who has been sentenced to the guillotine for killing his love, Princess Camille. Tyler is Camille’s splitting image. Ring Around The Guillotine is a soap operatic comedy with new age mystique against a renaissance backdrop.

This cast knows how to have a good time. They’re trying to not only crack up the audience, but also each other. Emily Harpe (Tyler) is hilarious as a messy drunk rebounder. Ashley Thornton (Beth) is the career-minded pizza manager with amusing fixations on her employees and work policies. Ross Compton (Randy) animates his scenes with chuckle-worthy delivery. Guillotine-licking Mat Labotka (Felipe) is the creepy prince playing over-the-top queen to Connor Tillman’s (Chester) straight man. Tillman’s dead pan slaps the punch line. The entire ensemble, with collective bios boasting extensive improv training, is a riot!

cic From the moment of arrival, you’re plunged into two stories. The contemporary story is relatable. Jilted girl, weirdo manager, pizza – got it. The period piece story is more challenging. It’s elegantly delivered by Jo Scott (Queen) and Martin Monahan (King), but the significance of what is occurring isn’t quickly digestible. Anthony Ellison directed and co-wrote Guillotine with Chris Tawfik The basic story is interesting and the dialogue is witty. At the same time, however, some of the initial scenes in Magical France don’t explain the set up clearly. The back and forth time travel adds to the delayed clarity. Scene changes go dark; a few of the transitions seem unnecessarily long. But this is allayed by the fact that energetic Cyndi Lauper soundbites fill the transitions, so “She Bops” provides a necessary distraction from an over-long break. Pop music, gags galore, people making out – Chemically Imbalanced Theater has invited you to party with them. Plus it’s BYOB and they’ll provide the entertainment.

 

 
Rating: ★★½
 

Running April 9-May 23. Fri & Sat 8pm, Sun 5pm. Tickets $15. Running Time: Ninety minutes with no intermission

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Review: 8th Annual ‘Cut to the Chase’ One-Act Play Fest

The Artistic Homes’ 8th Annual One-Act Play Fest, Cut to the Chase – go for the late-night fun and stay for the great acting.

Last Days of the Dinosaurs

Cut To The Chase
The 8th Annual One-Act Playfest

Palace of Riches, directed by John Mossman.
The Waiting, directed by Matthew Welton.
Last Days of Dinosaurs, directed by Luis Crespo.
Sponsored by The Artistic Home

Reviewed by Paige Listerud

Late-night theater like this inspires a lot of drinking and frolicking among the audience, who are typically friends of the cast and playwrights, out for a bit of fun. Still, who would suspect that some of the best acting of the season could take place in a little known venue such as this? And yet it does. The dramatic skill and maturity of the actors makes The 8th Annual Cut to the Chase compelling theater to watch, even when sometimes the material is a little lacking.

The Artistic Home sponsors this one-act play fest each year, and, at least for this year, it seems each play must fulfill these requirements: they must start with the line, “Like most alcoholics, he drove a van . . . .”; they must make use of a gasoline can, a parking meter, and chicken on a silver platter; they must conform to a certain theatrical genre. Palace of Riches by Jim Lynch, though set on Chicago’s west side, seems to be based on Damon Runyon’s work; The Waiting by Christine Hodak seems to be pretty much a one-act mock-up of Beckett’s Waiting for Godot; and Last Days of Dinosaurs by Matt Welton is a surrealist train wreck.

Palace1 Lynch’s play, Palace of Riches,strikes the happiest balance between written material and actors’ talents. The down-and-out trio of Zeke (Eric Simon), Eddie (Tim Musachio), and Sara (Kathryn Danforth) could have degenerated into simplistic stereotypes, but all three actors exemplify the actor’s craft, displaying maturity, depth, timing, making human connections between all three characters that lie at the heart of the heart of this play. Humor that might have been too hokey in someone else’s hands comes off as witty, charming, and humane from these pros. Tim Musachio makes his Eddie almost valiant with the hope of someday being something more than “a mook” for his own daughter; Kathryn Danforth portrays a messy drunk with sympathy and humanity; and Eric Simon embodies the cunning resourcefulness, mischief, and even poetry that characterizes Zeke.

Waiting3 The Waiting practically rewrites half of Beckett’s Waiting for Godot, but to what end? Beckett had a thing about not wanting women to take on roles in his plays and Christine Hodak creates a Pozzo-style character in Audrey (Samantha Church), worshipfully served by her own Lucky Joe (Buck Zachary)–complete with leash, suggesting some BDSM humor. Hodak also gives a satirical nod to women’s spirituality feminism with a little goddess-y ritual that Audrey performs before she departs from Oscar (Michael Denini) and Felix (J. P. Pierson). But what is the point to be made—that women can be as domineering and dictatorial as men? Forgive me for sounding a little jaundiced, but I lived through the Reagan/Thatcher years—that’s nothing new to me. The only pay-off in the end is the deeper development of Felix, who takes on a greater aspect of consciousness, even if he remains somewhat under Oscar’s control. But whatever its shortcomings, The Waiting benefits from the unflagging zeal, commitment, and nuance of the actors.

LastDays3 Sad to say, actor talent and commitment cannot save Last Days of Dinosaurs. Matt Welton has taken stereotypes—Alice (Liz Ladach-Bark) as the June Cleaver housewife, the flatfooted Cop (Matt Ciavarella), Carol (Marissa Cowsill) as the raving fundamentalist evangelical daughter, and Stephen (Kirk Mason) as the ravening Alpha-male son—and geared them all up for their own cataclysmic melt-down. While each character is introduced to good humorous effect, without deeper development, why should the audience care about them? Once one gets the joke and can see the train wreck coming within the first five minutes, what is there to hold one’s attention? What is more, each of these characters need greater development in how or why they identify as they do and what they want from each other, beyond the overplayed one-note of dominating the scene. It’s only the sexual titillation between Alice and the Cop that begins to branch out from the original premise. All the rest is shouting.

Still, The Artistic Home provides a vital space for new work. Go for the late-night fun and stay for great acting.

Rating: ««