Review: Man from Nebraska (Redtwist Theatre)

  
  

Broad collection of fervent scenes doesn’t quite make a whole

  
  

Michael Sherwin (Rev. Todd), Sam Perry (Bud)

  
Redtwist Theatre presents
  
Man From Nebraska
 
Written by Tracy Letts 
Directed by Andrew Jessop
at Redtwist Theatre, 1044 W. Bryn Mawr (map)
through April 24  |  tickets: $25-$30  |  more info

Reviewed by Paige Listerud

Redtwist Theatre has pulled off wonders within the confines of its black box theater space, such as morphing into a cheerfully bland New York hotel lobby with Lobby Hero (our review ★★★½) or, for their production of The Pillowman (review ★★), a claustrophobic interrogation room adjoined by macabre mini-theaters at both ends. But they may have bit off more than they can chew staging Tracy Letts’ 2003 play Man From Nebraska. Stephen H. Carmody’s set design does all it can with movable stages that serve for car and hotel scenes; Christopher Burpee’s lighting design can be impressively transformative at the right moments; Andrew Jessop’s video provides sly and suggestive white noise when the television becomes an extra character in a scene. Still, the play’s stop-and-start shifts are hell for any director to draw a cohesive arc from. Though Jessop’s direction Adrian Snow (Tamyra), Andrew J. Pond (Harry), Chuck Spencer (Ken)crafts gorgeous, singular jewels with each theatrical moment, it cannot ameliorate the overriding fragmentary nature of Letts’ writing, which seems more relevant for the screen than the stage.

Only one abiding element comes close to binding the production—Chuck Spencer’s performance, authentic to the bones, as Ken Carpenter, a man who awakens in the middle of the night to question everything he once held true. Jan Ellen Graves provides quiet backup as Ken’s sorely tested helpmeet, Nancy, but the show remains Spencer’s in every way. One could consider his portrayal of Ken as the bookend to his 2009 triumph as Willy Loman in Death of a Salesman at Raven Theatre (review). He seems born to play the quintessential life of quiet desperation.

The opening scenes do everything to depict Ken and Nancy’s somnambulant routines and corn-fed complacency, right down to silently shared dinners over chicken-fried steaks and mashed potatoes. But then Ken’s midnight crisis of faith hits hard and stands in abrupt, violent contrast to everything that’s gone before. Ken, Baptist born and raised, realizes to his horror that he does not believe in God–Spenser successfully sells every raw moment of Ken’s lifetime of belief pulled out from underneath him.

The rest of the play Ken searches for what he truly believes in; how various people respond to his earnest and heartfelt quest eventually reflects more on them than the protagonist. Small theatrical moments shine with humor, veracity, warm simplicity, yet sometimes we are never really far from a sharp Lettsian edge. Chuck Spencer (Ken), Marssie Mencotti (Cammie)Reverend Todd (Michael Sherwin) proves to be as cheerfully vapid and materialistic a clergyman as Satan could ever send to test the faithful, yet it is on his recommendation that Ken take a vacation that shapes his quest. Equally, daughter Ashley (Julie Dahlinger) seems too caught up in the things of this world to ever understand her father’s driven personal inquiry. In worldly company, Ken seems like an oddity—the guy who cares too much about spiritual matters that everyone else has let go of long ago.

Spencer is up to giving a performance that makes Ken more than an accidental tourist in the realms of moral ambiguity. Unfortunately, the script itself doesn’t plumb the depths of Ken’s emotional or spiritual quest but leaves a lot of it inchoate. Furthermore, the play’s fragmentary nature makes it difficult to tie in Ken’s search for truth with what is going on with Nancy at home. So many actors give strong and mature performances, it’s a shame that the whole struggles to gel. It’s worth it just to go and view the production as an assortment of excellent scenes in the hands of sure and capable craftsmen. Certainly, Ken and Nancy’s powerful reunion will stays long after the show is over. But, all in all, we have to accept Man From Nebraska as a lesser work of Chicago’s currently most successful playwright.

  
  
Rating: ★★★
     
  

Man From Nebraska continues through April 24th at the Redtwist Theatre, 1044 W. Bryn Mawr, with performances Thursday-Saturday at 7:30pm and Sundays at 3pm.  Tickets are $25 on Thursdays, $27 on Fridays and Sundays, and $30 on Saturdays, and can be bought online or by calling 773-728-7529.  Reserve seats by e-mailing reserve@redtwist.org.

Michael Sherwin (Rev. Todd), Jan Ellen Graves (Nancy), Chuck Spencer (Ken)

Jane deLaubenfels (Pat), Chuck Spencer (Ken) Chuck Spencer (Ken), Jan Ellen Graves (Nancy)
  

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REVIEW: The Last Daughter of Oedipus (Babes With Blades)

A New Sophistication for a New Kind of Savior

 Logan Black JK 4583

  
Babes With Blades presents
   
The Last Daughter of Oedipus
   
Written by Jennifer L. Mickelson
Directed by
Tara Branham
at
Lincoln Square Theatre, 4754 N. Leavitt (map)
through September 25  |  tickets: $12-$20  |  more info

Reviewed by Paige Listerud

It’s a good thing there’s an afterlife in The Last Daughter of Oedipus or we mere mortals could easily write off its heroine, Ismene (Kimberly Logan), as a failure at everything she attempts in life. With her new play, produced by Babes With Blades at Lincoln Square Theatre, Jennifer L. Mickelson totally revises Ismene’s traditionally meek and incidental role in Classical myth and literature. More importantly, Mickelson re-imagines her heroine within absolutely appropriate parameters of Ancient Greek religion. The characters of this drama thoroughly believe in the gods, in prayer, in Logan Begale JK 4848 ritual and in the less glowing side of Greek religion, the shadowy beliefs about the supernatural and the underworld. Classical geek alert: The Last Daughter of Oedipus is mythologically correct.

Her sister, Antigone (Sarah Scanlon), is dead and buried, making Ismene the last of her bloodline. Now a mournful Kreon (Michael Sherwin), her uncle, rules her dynasty’s city. Creon’s judgment has always been suspect and now crumbles under the guilt of the deaths of his son Haemon and Antigone. If only Ismene could break the original curse that has brought her family and city low, she might be able to rebuild Thebes after its terrible period of war and strife.

Ismene escapes Thebes to seek Theseus’ counsel at Athens, accompanied by her ruddy servant Zeva (Eleanor Katz). On the way, three Athenian women, Amaranta (Mandy Walsh), Cassia (Jasmine Ryan) and Alcina (Katie Mack) redirect her to the Oracle at Delphi. Theseus had just departed to march on Thebes and now Ismene must consult the Oracle in order to understand and break the curse before war breaks out in earnest between her city and Athens. All the while, dark dreams of her incestuous mother Jocasta and her doomed sister Antigone haunt Ismene, driving her onward but giving her no rest or hope. Soon it becomes apparent that Ismene’s dreams and visions are not just in her head but, rather, originate from the ancient Furies who act to fulfill the curse against her family.

Tara Branham’s direction reigns almost effortlessly over the smooth flow of action from fight scene to fight scene. Additionally, her incorporation of Mercedes Rohlfs’ movement direction with Libby Beyreis’ fight choreography truly inspires and evokes stronger veracity for the play’s supernatural elements. The dreadful Furies, Tisiphone (Moira Begale-Smith), Alekto (Amy E. Harmon), and Megaira (Sarah Scanlon), recall the Witches in Macbeth or the ghost of Hamlet’s father, who could be leading the protagonist to truth and/or destruction.

The Last Daughter of Oedipus exhibits increasing theatrical depth for Babes With Blades, in both its writing and execution. Lighting (Leigh Barrett), sound (Stephen Ptacek), and costumes (Emma Weber) reveal a powerfully cohesive artistic vision. Furthermore, this play re-awakens, for modern audiences, the original purpose of tragedy in the city-state of Athens, which was to use familiar myth cycles to examine social and political challenges for the health of the state. Ismene’s final monologue before the end of the first act interrogates the sources of terror as much for our own times as for her own.

 

Harmon Logan JK 4800
Harmon Logan Begale Katz Scanlon JK 4649 Katz Black JK 4551

Kimberly Logan brings intelligent desperation to her interpretation of Ismene. The role itself swings from feeling badly to feeling less bad to feeling profoundly bad before Ismene’s final redemption in the underworld. It’s up to supporting characters to realize the plays’ lighter side—to which end, Harmon’s turn as the Pythia at the Oracle of Delphi makes for amazing and insightful comic catharsis. Here is a scene that both spoofs and takes seriously our era’s Goddess spirituality movements.

If there’s any fault to be found, it’s in pacing problems, which could easily be resolved in the course of the run. The cast has mastered Mickelson’s heightened language for intention and now needs to pick up the pace in some scenes for crisper realism. As for the fight scenes, standard to BWB productions, a bit too much control undoes the edge that makes for the realistic and thrilling danger of actors swinging swords around. The cast shouldn’t hurt themselves, but they’ve got to make it look like they could!

Of the very few venues in which Attic women actually held power, the exercise of religious offices and duties gave them the greatest social prestige and political influence. Hence, it’s only logical that Babes With Blades’ latest production sees Ismene battling with supernatural forces beyond her control. Yet, it is the their theatrical handling that displays the company’s increased sophistication in its mission to train women in combat roles and develop new dramas featuring fighting roles for women.

    
   
Rating: ★★★½
  
  
 

Mack Logan Ryan Walsh JK 4304

      

 

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