Review: Unbroken (Kid Brooklyn Productions)

  
  

‘Unbroken’ unleashes new company, fresh, young talent

  
  

A scene from "Unbroken" by Alexandra Wood and directed by Evan F. Caccioppoli; presented by Kid Brooklyn Productions

  
Kid Brooklyn Productions presents
  
Unbroken
  
Written by Alexandra Wood
Directed by Evan F. Caccioppoli
at side project theatre, 1439 W. Jarvis (map)
through April 2  |  tickets: $10  |  more info

Reviewed by Paige Listerud

It was with great sadness that we caught Kid Brooklyn Production’s inaugural show the very last weekend of its extremely short run. Unbroken, a contemporary play by Alexandra Wood inspired by Arthur Schnitzler’s La Ronde, enjoyed a short but exceptional American premiere at side project theatre. We can only hope the producers will seriously consider remounting again for a longer run. Director Evan Caccioppoli displays deft handling of very mature themes with a cast of fresh and promising young actors.

A scene from "Unbroken" by Alexandra Wood and directed by Evan F. Caccioppoli; presented by Kid Brooklyn ProductionsBrian Barber (Johnno), Kate Black (Laura), Sara Jo Buffington (Amy), Julia Daubert (Zoe), Jason Nykiel (Steve) and David Henry Wrigley (David) play a round robin of characters searching for someone to meet their emotional and sexual needs. Their one-on-one sexual encounters with each other reveal secrets, longings and disappointments they keep from other partners. Vulnerability lies side-by-side with game-playing, the expressed needs and desires of each character are always up for second-guessing and Caccioppoli has finely honed his cast to build suspense from what goes unsaid as much as what is.

Every scene, every pairing is finely crafted and brimming with daring, fresh energy. If a few moments go a little rough around the edges from the young cast, those are quickly overridden by vital connections between desperate lovers. Amy finds herself alone with Johnno, who acts very much the cool and brazen rock star with her. But he shrinks to brokenhearted neediness with Laura, his adolescent sweetheart who has moved on to Steve to build a family. Laura discovers from her husband Steve that he is infertile, which cements her anxiety over creating a family, implicitly hinting at regret over not choosing Johnno after all. Steve plays along with the business sharp Zoe on their faux speed date, but she ambitiously lays snares for her boss, David, who seems more distracted by the fact that a male friend is getting married. The show subtly builds to the biggest showdown between Amy and David. Amy has detected all along David’s feelings for Joe and craves more than anything else an honest exchange between her and her husband. “Just confide in me like someone you could trust,” she demands over David’s perpetual need for denial and the catharsis released from that demand is palpably felt.

Kid Brooklyn Productions is off to a surprisingly good start. With a little more time to view their work, they could very well be judged as a theatre production company to watch out for.

  
  
Rating: ★★★
  
  

A scene from "Unbroken" by Alexandra Wood and directed by Evan F. Caccioppoli; presented by Kid Brooklyn Productions

Artists

Cast

Brian Barber, Kate Black, Sara Jo Buffington, Julia Daubert, Jason Nykiel, David Henry Wrigley

Production and Creative

Alexandra Wood (playwright); Evan F. Caccioppoli (director); Dina Marie Klahn (stage manager); Andrew Zamirowski (set/light designer); Katherine Meister (costume designer); Rachel Rizzuto (dialect coach); Brooke Johnson (asst. stage manager).

  
  

Bailiwick Chicago extends F**KING MEN for 2nd time

Bailiwick Chicago Announces 3-Week Extension

of Joe DiPietro’s F**KING MEN


Executive Director Kevin Mayes announced today that Bailiwick Chicago’s hit production of Joe DiPietro’s F**KING MEN will be extended for an additional three weeks due to popular demand. Performances will continue through Sunday, August 29 at Stage 773, 1225 W. Belmont with the original cast.

We are so pleased that Chicago audiences have embraced this production,” said Mayes, “and we are excited that we’ve been able to keep the original cast together for this second extension. It’s been an amazing summer for Bailiwick Chicago, with our two hit shows Aida and F**KING MEN. We are incredibly proud of – and humbled by – the response.

F**KING MEN observes the sex lives of the modern urban gay American male. Conceived as a noir-riff on Arthur Schnitzler’s 19th century play, LA RONDE, the play examines ten men from all walks of life as they negotiate the before and after of lust, love, betrayal and the pursuit of sex and emotional connection. Funny, poignant, sometimes dramatic, always provocative and sexy, the show has been critically acclaimed by Chicago critics: “Emotionally Searing…Superb Performances…there is truth and understanding in F**KING MEN.” (Hedy Weiss, Chicago Sun-Times) “…[F**KING MEN] is serviced brilliantly by this snappy, assured Chicago production.” (Nina Metz, Chicago Tribune) “…F**KING MEN is pretty fucking solid.” (Kris Vire, TimeOut Chicago).

Bailiwick Chicago has launched a dedicated web site for the production with photos, videos, and additional information about the show at www.FMenChicago.com.

Performances are Fridays at 8 p.m., Saturdays at 7 p.m. and 9 p.m., and Sundays at 7 p.m. General admission tickets are $25. Special Reserved seating is available for $30. Student and Industry rush tickets will be available at the door for $15 at every Sunday performance. Group (6+) tickets are $20.00. To purchase tickets, call the Stage 773 box office at 773-327-5252, or go towww.ticketmaster.com.

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REVIEW: F**king Men (Bailiwick Chicago Theatre)

The Circle of Gay Life

FMen-Vanguard 

    
Bailiwick Chicago presents
   
F**king Men
   
Written by Joe DiPietro
Directed by
Tom Mullen
at
Theatre Building Chicago, 1225 W. Belmont (map)
through July 25th  |  tickets: $25  |  more info

reviewed by Keith Ecker 

I don’t know if you read the papers, but us gay guys get a pretty bad rap. If we’re not contributing to the downfall of society, we’re made out to be self-loathing, sex-crazed loveless loners.

But the truth is, gay men—just like all human beings—are capable of love, and in fact, spend much of their lives, as everyone does, looking for it. And it is this search for Ryan - Beaumeaning, connection and kindness in a sea of sex that playwright Joe DiPietro attempts to illuminate in his cyclical play Fucking Men.

Fucking Men is a loose adaptation of the 19th century play La Ronde in which pairings of characters are featured in scenes preceding and succeeding sexual encounters. It’s an interesting structure—often employed as an improv comedy exercise—that lends itself to strong characterizations and oodles of dramatic irony.

The play begins and ends with John (Arthur Luis Soria), a young lovelorn prostitute. John is about to turn a trick. The trick’s name is Steve (Cameron Harms), a closeted military man who wants to receive oral sex from a man, you know, just to test it out. After the deed is done, Steve freaks out and beats up John.

Next is a silent scene in which Steve is in the gym sauna opposite Marco (Armand Fields). Steve touches his chest, signaling to Marco that he’s interested. Without saying a word, the two men fool around. Afterward, Marco continues his locker room routine: change out of clothes, pack up his bag, etc., while the closeted Steve rambles on about his sexuality and his encounter with John.

Naturally, the next scene depicts Armand with yet another character (this one a wisecracking, pot-smoking college student). And the domino effect of the La Ronde continues from there.

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The overarching theme of the play seems to be the need to inject kindness into our relationships, no matter how fleeting. It is all too easy to take advantage of others to fulfill our own selfish sexual and emotional desires. But if you come at sex with a sense of empathy, then you can be sure to limit the amount of pain you spread throughout the world and increase the love. Think of it like paying it forward…only sexually.

Some of the scenes really capture this idea. When the older and partnered Leo (Thad Anzur) enters the college dorm of Kyle (Cameron Johnson) for a random sexual encounter, he gets cold feet. Leo wants to know Kyle, to have some emotional connection prior to the physical connection. Youthful Kyle just wants sex and makes it  clear that if Leo isn’t going to give it up then he can easily get it elsewhere. The two end up chatting and finding some common ground to connect on. Leo gets the emotional connection he’s been seeking, and Kyle gets the sex.

Christian - KarmannOther scenes, however, are less believable. The opening scene in particular falls flat. When the closeted Steve gushes about his self-doubt and sexual confusion to the prostitute, I had to roll my eyes. The scene just doesn’t seem grounded in reality. A prostitute is going to know not to take on a buff, aggressive client who is deeply self-hating and fearful of gays. It’s a safety precaution. And the closeted Steve’s dialogue is riddled with more clichés than a Lifetime movie.

The other major flaw of the play is the music. Laurence Mark Wythe composed original instrumentals for Fucking Men that play as transitions between scenes as set pieces are moved and altered to create the various settings. And although the music itself is just fine, it undercuts the dramatic tension of the scenes when it is used underneath the dialogue. I’m assuming this was a decision made by director Mullen, and I would hope it is relegated only to scene transitions in future performances.

Overall, Fucking Men strikes at the core of what motivates gay men—and quite possibly everyone else too—to have sex. And although there are some weaknesses with a few of the characters whose behaviors just are beyond believable, it’s pretty easy to find traces of yourself in most of them.

   
   
Rating: ★★★
   
   

fucking men cast with playwright Joe DiPietro

Cast of “F**king Men”, including Director Tom Mullen and Playwright Joe DiPietro.

           
           

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