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: Casanova Takes a Bath (Theater Oobleck)

From Frivolous Flings to Serious Finances

casanova

   
Theater Oobleck presents
   
Casanova Takes a Bath
   
Written and performed by David Isaacson
at
Prop Thtr, 3502 N. Elston (map)
through June 13th  |  tickets: $12 donation  |  more info

reviewed by Paige Listerud

David Isaacson’s one-man show, Casanova Takes a Bath, passes itself off as something as light and whipped as blanc mange. His sartorial transformation from modern-day satirist to Giacomo Casanova takes place by means of a few articles of clothing ransacked from his wife’s closet. The bareness of the studio stage at Prop Theatre contains only a blackboard, a stack of newspapers, and an antique music stand with its own stack of papers—Isaacson’s script. Complete with bare-bones lighting design (Martha Bayne), Isaacson’s examination of our current financial crisis, from the perspective of the world’s greatest lover, adherences to the utmost minimal of minimalist theatre principles.

How economical. How unlike the shenanigans of Wall Street financiers, the shenanigans of free-market advocates of deregulation, the blind faith of defenders of “the efficient markets hypothesis,” and those who still believe that math will always represent accurate reality. These dreamers, these practitioners of “creative economics,” these “masters of the universe” only use their various economic jargons to hide those tendencies that mirror the wanton habits of the protagonist of Isaacson’s show. Casanova becomes, for us, the expert to turn to precisely because own his financial profligacy was equal to his perpetual, serial, sexual debauchery.

And why not? When modern day financial instruments and credit default swaps begins to resemble the impulsive gambling schemes of an 18th-century libertine, why shouldn’t we turn to that sly, witty, and insouciant rogue–especially when, down on his luck in prison, he is being candid about all his vices, compulsions, hair-brained money-making misadventures and sexual entrapments. Isaacson has rediscovered the perfect figure to expose us to the implications and ramifications of real-life venture capitalism. Add a little sex, an aspect of human nature that is driven by many of the same delusions and impulses as gambling with other people’s money, and you have the 21st-century financial crisis, only saucier.

But it’s not all witty euphemisms, scandalous liaisons, and weird predictions wrought from engaging in fake occult practices. No, the fun’s got to stop sometime. Isaacson is great at linking the fluff to the finance. But, while he is quite accurate when linking a moment of 18th-century shenanigan to its present-day incarnation in our financial sector, there are moments when his dry, humorous approach just doesn’t bring the hammer down hard enough, hard enough to bring home to the audience the greater perils of our current financial and political situation.

I wonder if Casanova couldn’t be a source to turn to, yet again, in order to awaken us to the deeper implications of the hole we have dug and are still digging ourselves into. Concerning his own experience of his times, Casanova reflected:

All the French ministers are the same. They lavished money which came out of the other people’s pockets to enrich their creatures, and they were absolute: The down-trodden people counted for nothing, and, through this, the indebtedness of the State and the confusion of finances were the inevitable results. A Revolution was necessary.”

Ah, yes. Revolution. Enlightenment revolution, wars for independence taking place in the context of The Enlightenment; bloody revolutions that spiral out of control and lead right on into dictatorship—at some point, all the fun and frivolity stops. Once again, because we have gambled with our future too far, the fun stops and someone gets an eye poked out or a head chopped off or somebody gets thrown into prison. I just hope it’s not me. I didn’t know anything about the financial shenanigans when they started—way back during the Reagan revolution. I just know about the dangerous outcomes; I know them because, creature of the lower orders that I am, I get to be subjected to them.

“All the French ministers are the same. They lavished money which came out of the other people’s pockets to enrich their creatures, and they were absolute: The down-trodden people counted for nothing, and, through this, the indebtedness of the State and the confusion of finances were the inevitable results. A Revolution was necessary.”     Giacomo Casanova

  
   
Rating: ★★★
  

Review: Magpie Project’s “The Happy Family Series”

A Weird and Gifted “Family” Pulls It Together

happy-family-poster

The Magpies Project present:

The Happy Family Series:
Demonstrations Exploring “Harmonic Antagonisms

inspired by P.T. Barnum’s “The Happy Family
Curated by Shawn Reddy
Emceed by H.B. Ward a.k.a. "The Tamer"
thru December 6th at Viaduct Theatre (ticket info)

reviewed by Paige Listerud

I hardly knew what to make of the press put out by The Magpies Project over The Happy Family Series: Demonstrations Exploring “Harmonic Antagonisms” inspired by P. T. Barnum’s museum piece “The Happy Family.” Living by the creed “There’s a sucker born every minute,” Barnum constructed a fallacious exhibit wherein an assortment of animals, both predators and prey, were forced to live in harmony with each other as a spectacle of example to humankind. As such, The Magpie Project’s own assortment of talented misfits, drawn together from the usual fringe theater suspects, could easily be collected under any random title. Maybe the overwhelming wholesomeness of the holiday season has wormed its way into the company’s artistic direction. Never mind. Any excuse to see these performers is good one.

viaduct Emceeing the madness is H. B. Ward, aka “The Tamer,” who delivers the funniest, most intelligent opening comic monologue I’ve witnessed in years. He’s a man in complete control of the audience—without need of whips and little need of chairs! Most of the rest of the collection, curated by Shawn Reddy, follows in this comic and quirky vein. Whether any of it refers to family hardly matters, but one will find some startling depth along with the laughs.

The first weekend run in particular saw a short memoir simply read aloud by writer and critic Brian Nemtusak. It was the sort of thing one might hear on Public Radio’s This American Life, only with greater psychological depth, quiet power, and less desperate need to please the audience. It came closest to all the evening’s exhibits in articulating the antagonisms between three generations of men and what each generation tried to do to compensate for them. Ira Glass, eat your heart out.

Other sketches executed by Ian Belknap and Edward Thomas-Herrera, such as the subtext of corporate meetings and the dramatic, glamorous imaginings of a lone gay child, were more conventionally funny, but no less entertaining for being so. Far more far out performances were dealt by the musical stylings of Jenny Magnus of Curious Theatre and Chris Schoen of Theatre Oobleck.  I kept thinking Jenny was coming up with any old excuse to sing her songs under the rubric of “family.”

Stopping by to see The Happy Family Series over the next few weeks will be more than worth your while. Who knows, maybe the oddness of the “exhibits” will strike some familial similarity.

 

Rating: ★★★

 

Curated by Shawn Reddy
Emceed by H.B. Ward A.K.A. "The Tamer"

Featuring work by: Martha Bayne, Ian Belknap, Dave Buchen, Chris Bower, Eiren Caffall, Mark Chrisler, Robin Cline, Barrie Cole, Elvisbride Band, Idris Goodwin, David Isaacson, David Kodeski, Jenny Magnus, Brian Nemtusak, Beau O’Reilly, David Pavkovic and Vicki Walden (of DOG), The Lawrence Peters Outfit, Diana Slickman, Edward Thomas-Herrera, and David Wilcox.

Continue reading