Review: The Warriors (The New Colony)

     
     

Survivor story speaks from the heart, but the message Is muddled

  
  

Mary Hollis Inboden - Anne Peterson - New Colony

  
The New Colony presents
  
The Warriors
  
Conceived by Mary Hollis Inboden
Written by Evan Linder
Directed by Benno Nelson
at Second Stage Theatre, 3408 N. Sheffield (map)
through April 17  |  tickets: $25  |  more info

Reviewed by Keith Ecker

I cannot possibly begin to fathom the experience that Mary Hollis Inboden has lived through. The New Colony company member and the conceiver of its new production, The Warriors, was a student at Westside Middle School in 1998 when two students opened fire on their peers. When the carnage had ended, five people, including Mary’s best friend, were killed.

An incident as horrific as the Jonesboro Massacre—as the press dubbed it—sticks with you, sending shockwaves throughout the rest of your life. Although most of us are not survivors of school shootings, we do eventually suffer a life-changing tragedy that stamps itself on our psyches. And with each individual, it affects him or her differently.

Wes Needham, Mary Hollis Inboden - Anne PetersonThat is what The Warriors attempts to explore, the notion that a shared horrific experience affects the lives of those involved in different ways. We do not witness the actions of that day, but we do watch the fallout.

The play begins in the present day with Mary, as herself, on a date with Jeff (Wes Needham). Jeff mentions that he heard Mary’s NPR interview, the one where she is speaking as a school shooting survivor. In the interview, she advises the students at Virginia Tech to band together and collectively cope with their pain. Mary tells Jeff that because she abandoned her Westside peers, she feels her advice was disingenuous.

Mary decides to send an e-mail to her old student body, informing them she wants to discuss the shooting. And so she returns to Jonesboro where she interacts with several old friends, each of whom has dealt with the weight of remembering in a unique way.

Mary Hollis Inboden’s performance is a testament to how much passion she has for the material and compassion she has for the other survivors. Playing yourself as others may see you takes courage, vulnerability and humility. I also commend Mary on her drive to get The Warriors on stage. So many would rather suppress the darkness Sarah Gitenstein, Michael Peters and Mary Hollis Inbodenin their lives. But Mary understands that the past is not your choice, and it is an inseparable part of you, a part that as an artist must be explored and shared.

However, this piece would have been significantly more powerful had it been scaled down to either a one-woman show or a series of monologues. Instead, the characters busily interact with each other, which diminishes the audience’s ability to connect with them and vice versa.

In addition, this kind of personal piece doesn’t seem conducive to The New Colony’s process. Instead of relying on a single playwright, the theatre company collaboratively creates its productions. I’m not clear on how a group of individuals who did not live through the experience and cannot speak for Mary’s point of view can adequately contribute to the piece. Furthermore, by having them contribute, the lines between reality and dramatization begin to blur. And that undercuts some of the play’s intensity.

If we’re going to plunge into personal tragedy, I want as much vulnerability on stage as possible. And although Mary lays her heart on the line, the other characters lack a certain genuineness. It’s not about the acting. It’s about the way the story is told. And I think Mary can tell this tale better herself.

  
  
Rating: ★★½
  
  

(L to R)  Whit Nelson, Nicole Pellegrino, Michael Peters, Sarah Gitenstein, Wes Needham, Mary Hollis Inboden

The Warriors runs March 17 – April 17 at the Second Stage Theatre, 3408 N. Sheffield Ave. Opening/Press night is Sunday, March 20 at 7:30 p.m. Tickets are $25 and are now on sale. The production runs Thursdays – Sundays at 7:30 p.m. Tickets may be purchased at 773.413.0TNC (0862) or thenewcolony.org.

  
  

Continue reading

REVIEW: Pancake Breakfast (The New Colony)

      
     

Family dysfunction stacked high and covered with syrup

     
     

Pancake Breakfast - The New Colony - Viaduct Theatre

   
The New Colony presents
   
Pancake Breakfast
   
Written by Tara Sissom
Directed by
Sean Kelly
at
Viaduct Theatre, 3111 N. Western (map)
through Dec 19  |  tickets: $10-$25  |  more info

Reviewed by Katy Walsh

Independence Day is an annual celebration of liberation. For Beatrice, this year is D-Day for the release of a captive, her brother. The New Colony presents the world premiere of Pancake Breakfast. Beatrice resurrects the 4th of July family tradition. Her plan is to get the estranged family together to intervene in her mother’s unhealthy relationship with her brother. But before the clan can instigate the interference, they need to re-enact the holiday family rituals from pancake breakfast to fireworks. ‘Going home again’ is a craving never quite satisfied. Do pancakes ever taste as good as the childhood memory of them? Pancake Breakfast is family dysfunction stacked high and served with fruits and nuts.

Pancake Breakfast - The New Colony - Viaduct Theatre 4Playwright Tara Sissom devised the Pancake Breakfast script in collaboration with the actors. Sissom laid out the premise and the ensemble developed individual characters. The result is an IHOP menu of tasty options that don’t quite go together for one well-balanced meal. Some of the characters are a bounty of flavor. Arlene Malinowski (Lillian) is a delicious loud-mouthed, mean-spirited, mother flapjack. Evan Linder (Randy) is a delectably hilarious, Asperger’s son-of-a-bitch. Jack McCabe (Arlie) stirs the pot for laughs as an eccentric nut. Megan Johns (Darcy)smokes the pot as the amusing, carefree 2nd wife. It’s these tangy portrayals that overshadow the other milder ingredients. What are the other tastes? Gary Tiedemann is definitely sweet, but how does he blend with his bitter partner, Andrew Hobgood (Bobby)? And Steve Ratcliff (Bud) seems a little bland for marrying zesty… both times.

The script can be confusing. In the first scenes, it’s unclear who Eleanor (Susan Veronika Adler) is. Adler brings some spice but is more seasoned for the grandmother’s role than the grown-up version of a youthful single parent. Thea Lux (Beatrice) goes to a lot of trouble to serve pancakes but seems more like a waffle eater. Lux is a quandary. What does she want? And where is she going? Her last line at the show’s end adds to the mystery.

Director Sean Kelly stages the show on a long linear stage. It’s an interesting floor plan representing a variety of rooms (scenic design by Nick Sieben). But in the cavernous Viaduct Theatre, this layout muffles some pertinent dialogue because of the obstructive angles. Sometimes the audio barrier is actually another actor standing directly in front of the speaker. From the southeast corner, a tub conversation is muffled between the submerged and the percher.

Pancake Breakfast - The New Colony - Viaduct Theatre 3

Simultaneous staged activity occurs for a horizontal visual feast, tasty or otherwise. In an initial scene, the march to the breakfast table is a light-hearted patriotic salute. Often when family gets together for a holiday, there are too many cooks in the kitchen. Relative cooking can get confusing. No need to start from scratch, Playwright Sissom just needs to clarify the recipe’s direction and whisk the lumps until smooth. Pancake Breakfast is a Rooty Tooty Fresh ‘N Fruity combo platter in the making. Order up!

  
   
Rating: ★★½
   
  

Pancake Breakfast - The New Colony - Viaduct Theatre 2

Pancake Breakfast continues thru December 19th, Thursdays through Saturdays at 7:30pm, Sundays at 3pm.  Running Time: 100 minutes with no intermission.

   
  

 

Continue reading

REVIEW: That Sordid Little Story (The New Colony Theatre)

Tall Tale Is Too Big

 

The New Colony presents That Sordid Little Story, from L to R - Thea Lux, Tara Sissom, Brandon Rutter, Chris Gingrich, Henry Riggs - photo by Anne Peterson

   
The New Colony Theatre presents
   
That Sordid Little Story
   
By Will Cavedo, Andrew Hobgood and Benno Nelson
Composed by
H. Riggs, C. Gingrich, T. Sissom and T. Lux
Directed by Andrew Hobgood
Music Directed by
Henry Riggs
at
Viaduct Theater, 3111 N. Western, Chicago (map)
through August 7th  |  tickets: $25  |  more info

reviewed by Keith Ecker 

The New Colony Theatre’s original play That Sordid Little Story is a huge production, both figuratively and literally. It fills the spacious Viaduct Theater with a two-tiered  stage that is flanked with jutting runways. There are two intermissions throughout the 2.5-hour long piece. Including musicians, the cast just jumps the dozen marker, which I know is no Cherrywood, but it’s The New Colony, That Sordid Little Story, from L to R - Patriac Coakley and Danny Taylorstill a sizeable amount of people for an off-Loop production.

The play also feels huge. It’s epic in its nature, with its protagonist, Billy Lomax (Patriac Coakley), journeying from Fayetteville Georgia across the South in search of a bluegrass band that may just hold the answers to the identity and whereabouts of his father. Along the way, Billy encounters a cast of colorful characters including a manipulative antique shop owner (Caitlin Chuckta) and her jealous brother (Wes Needham), a man of color who claims he’s half Cherokee (Anthony DiNicola), a stand-up comic (Sean Ellis), a couple of Latino day laborers (Aaron Alonso and Gary Tiedemann) and others.

The elusive bluegrass band serves as the soundtrack to Billy’s life. Each song inexplicably represents Billy’s current situation, or at least that’s how he reads into it. And so the band becomes the fuel that drives Billy, and for that matter the rest of the play, forward.

I should note that The New Colony takes a unique approach to creating a new production like this. The lines delineating actor, writer and director are blurred, with all cast members getting some say in the development of the play and its final treatment. With a company of about 30 members, this sounds like a situation where too many cooks could have spoiled the pot. And while the pot is not spoiled, it suffers from too many ingredients.

The New Colony, Sordid Little Story, from L to R - Aaron Alonso, Patriac Coakley and Sean Ellis - Photo by Anne Petersen The New Colony presents That Sordid Little Story, from L to R - Patriac Coakley and Jack McCabe.  Photo by Anne Petersen.
Sordid_7 Sordid_9 Sordid_3

The play practically bursts at the seams. There’s just so much in it. Issues of race, issues of family, issues of wealth and social class. In covering so much territory, very little is actually said.

In addition, there are too many characters that come in and out of Billy’s life for us to really care about them. Once Billy starts developing a connection with someone, he leaves or he is left. We as the audience catch on to this pattern quickly, which means mentally we know there’s little at stake with these friendships. Once that happens, we know we can check out, and thus the relationships that Billy is making just don’t have Sordid_11 much of an impact. In the end, you’re left just waiting to see how the whole thing wraps up.

Also, some of these scenes lag. There are conversations between talking heads that sound reminiscent of college-level discussion groups. Much of this dialogue could be cut, and we’d still get the point. There’s nothing intrinsically wrong with a 2.5-hour long play as long as your play needs to be 2.5 hours. With some obvious editing, That Sordid Little Story could shave off a good 30 minutes.

But let’s take a moment to focus on what this play does well, namely, the music. This is a four-star score, lyrically and melodically. Heart-wrenching at times, uplifting at others, the music overshadows the rest of the play with its spot-on descant harmonies and its band’s down-home-country affection.

Also, the acting is consistently solid. Standout performances include Sean Ellis as the drunk comic, Aaron Alonso as a non-English speaking immigrant and Caitlin Chuckta, who reminded me of comic actress Stephnie Weir.

That Sordid Little Story is anything but little. It’s a big piece – too big. With some self-editing, this could have been more than just a cool concept. But as it stands, I’d rather just listen to the soundtrack.

   
   
Rating: ★★½
  
   

Sordid_1

 

 

Continue reading

REVIEW: Sketchbook X (Collaboraction)

Collaboraction celebrates the creative spirit with Sketchbook X

 Pictured (left to right): Beth Stelling, Maari Suorsa, Mary Hollis Inboden and Meg Johns in The New Colony Ensemble’s world premiere “Five Lesbians Eating a Quiche,” one of the 19 original short works in SKETCHBOOK  X, a mixed media festival of theatre, music and video presented by Collaboraction, now in its 10th year. The show runs through June 27, 2010 at The Chopin Theatre. http://www.collaboraction.org

   
Collaboraction presents
   
Sketchbook X:   People’s Choice
   
at Chopin Theatre, 1543 W. Division (map)
through June 27th  |  tickets: $20-$35   |  more info

reviewed by Keith Ecker 

What is a play exactly? Is it a dramatic staging of a story? Is it people moving around in a physical space in front of an audience? And furthermore, what separates a play from a sketch or a scene or even a performance art installation?

Pictured (left to right): Jeffrey Gitelle, Ian McLaren and Emily Shain in “Eighty Four” written by Cory Tamler, directed by Dan Stermer. “Eighty Four” is one of the 19 original short works in SKETCHBOOK  X, a mixed media festival of theatre, music and video presented by Collaboraction, now in its 10th year. The show runs through June 27 at The Chopin Theatre These are the questions I was left pondering after seeing Collaboraction’s tenth annual Sketchbook festival, a showcase of original mixed media performances. This  year’s theme was “exponential.” Yes, it is fairly nebulous, and this is perhaps one reason why the output lacks a certain concreteness and cohesion. Characters and plot become secondary to evoking visceral emotions. Sketchbook X in many ways is more circus than drama.

This isn’t to say that the finished product is all spectacle and no substance. There are some standout pieces.

The one that clearly stands out the most is Five Lesbians Eating a Quiche. Unlike other pieces that become crushed under their own weight, Five Lesbians is a witty, stylized comedy. Devised by Evan Linder, the play features five women (Sarah Gitenstein, Mary Hollis Inboden, Beth Stelling, Maari Suorsa and Megan Johns) who head a local social club centered around a shared love of quiche. The women click and cluck like 1950s southern church ladies and harass the audience. When communist Russia bombs the outside world, all quiche is destroyed. The women go into a tizzy, which leads to their outings.

Five Lesbians works because it is the most refined piece of the festival. The script feels fully fleshed out, the actors are well aware of their characters and the comedic timing is impeccable. There is a lot of commitment, and there is little ambiguity. It has an aesthetic all its own that is so engaging I’d pay to see a full-length production.

Pictured (left to right): Beth Stelling, Maari Suorsa, Mary Hollis Inboden and Meg Johns in The New Colony Ensemble’s world premiere “Five Lesbians Eating a Quiche,” one of the 19 original short works in SKETCHBOOK  X, a mixed media festival of theatre, music and video presented by Collaboraction, now in its 10th year. The show runs through June 27, 2010 at The Chopin Theatre

Other standouts include Sacrebleu (devised and performed by Dean Evans, Molly Plunk and Anthony Courser), a pantomimed, slapstick comedy about two eccentric French fur trappers. The short monologue The Blueberry (written by Sean Graney and featuring Celeste Januszewski) is a thoughtful meditation on existence that explains string theory with blueberry imagery.

Other pieces, however, just don’t pan out. What I’m Looking For (written by Brett C. Leonard and featuring Joel Gross and Heather Bodie) is little more than a heavy-handed music video for a Rufus Wainwright song. Meanwhile, The Untimely Death of  Adolf Hitler (written by Andy Grigg and featuring Eddie Karch, Anthony Moseley, Erin Myers, Greg Hardigan and Dan Krall) lacks enough wit to drive the piece beyond its premise. But you can’t expect all the pieces to be gems. Besides, if you don’t like something, just wait 7 to 10 minutes for another play.

Sketchbook-Four-Women As usual, Collaboraction has succeeded in making the festival feel like a big event. The interior of the Chopin Theatre is awash in glowing light and fog. Two large screens flank the sides of the stage and streamers stretch from the floor to the ceiling. It all makes for a breath-taking first impression.

If you want to see all 19 pieces in a row, you’ll have to see the show on a Saturday. Be warned, though. It’s a 4.5-hour long journey, though you are encouraged to come and go as you please.

Overall, Sketchbook X is a mixed bag of intriguing works. The majority of the pieces lack refinement, but there are a few plays that are polished treasures. The theme gets lost among the many productions, but I don’t think that’s the point. Rather, Sketchbook is more of a party that aims to celebrate the creative spirit, and in that sense, it succeeds.

   
   
Rating:  ★★★
   
   

Continue reading