REVIEW: Somebody Loves You, Mr. Hatch (Lifeline Theatre)

    
  

The importance of being loved and loving others

  
  

Scene from Somebody Loves You Mr. Hatch - Lifeline Theatre - photo by Suzanne Plunkett

    
Lifeline Theatre presents
    
Somebody Loves You, Mr. Hatch
   
Adapted by Frances Limoncelli
Based on book by
Eileen Spinelli
Music by
George Howe
Directed by
Ann Boyd
at
Lifeline Theatre, 6912 N. Glenwood (map)
through Feb 27  |  tickets: $12  |  more info

Reviewed by Katy Walsh

Every day for lunch, Mr. Hatch has a cheese and mustard sandwich with a prune for dessert. He’s predictable and dull. Every day, his neighbors greet him with ‘Hello, good neighbor!’ Mr. Hatch ignores them, isolating himself from the daily goings on of his pleasant community. Unexpectedly, he receives a Valentine’s Day package with a note saying ‘somebody loves you.’ Who is his secret admirer? Not knowing the culprit, Mr. Hatch befriends everyone. Feeling loved turns him into a brownie-baking, see-sawing, harmonica-playing, good neighbor. When the postman delivers more news about the package, Mr. Hatch returns to ‘normal.’ What’s a neighborhood to do? Lifeline Theatre’s Somebody Loves You, Mr. Hatch proves to be an upbeat, engaging, heart-warming ‘Love Thy Neighbor 101’.

Michael T. Downey as Mr. Hatch - Lifeline Theatre - Photo by Suzanne PlunkettUnder the rambunctious direction of Ann Boyd, the talented cast IS the bright and cheerful neighborhood. To build the community spirit, two rows of audience are on the stage, each made cozy with blankets. Some of the play’s action takes place in Row D of the audience. The effect allows the quartet of actors to interact with guests to play catch, answer questions and teach a new song. In the lead, Michael T. Downey (Mr. Hatch) is so glum and downtrodden initially that his makeover is like a caterpillar to butterfly effervescent explosion. The magical fragility adds to the heart-tugging, misty moment when Downy re-cocoons. The rest of the cast play a variety of parts with delightful amusement. In lively animation, Sara Sevigny is jovial as Mrs. Weed, Mr. AND Mrs. Dunwoody, co-worker and a dog. Sevigny looks so surprised every time her puppet barks that she fooled me into seeing a dog. Micah J.L. Kronlokken energetically meets and greets the kids in the audience with a play by play expectation for the performance. He’s a kid-friendly narrator and mailman. Wearing different hats, Tuckie White goes back and forth from teen to lady to kid with active enthusiasm.

Based on the literary work of Eileen Spinelli, Somebody Loves You, Mr. Hatch has been adapted for the Lifeline stage by Frances Limoncelli. Accompanied with songs composed by George Howe, the story teaches life lessons on kindness and isolation. Along with the familiar treat-people-like-you-want-to-be-treated message, Lifeline goes the extra block to say an individual is responsible for his own happiness. At one point, Mr. Hatch profoundly declares, “I’ve wasted too much time being lonely.” Ultimately, Somebody Loves You, Mr. Hatch illustrates the importance of being loved and loving others. It’s a show for all ages. The kids will giggle. The adults may tear up. And everybody will want to live the greeting, “Hello, good neighbor!”

  
  
Rating: ★★★½
  
  

Running Time: Sixty minutes with no intermission. Photos by Suzanne Plunkett.

 

CAST: Guest artists Michael T. Downey (Mr. Hatch), Micah J.L. Kronlokken (Mr. Goober), Sara Sevigny (Mrs. Weed), and Tuckie White (Tina Finn). With understudies Timothy Cahill and Victoria Abram-Copenhaver.

CREW: Lifeline Theatre ensemble members Frances Limoncelli (Adaptor); with guest artists Ann Boyd (Director), George Howe (Composer/Lyricist), Jessica Kuehnau (Costume Designer), Aileen McGroddy (Assistant Director), Shayna Petit (Stage Manager), Rick Sims (Sound Designer), Brandon Wardell (Lighting Designer), Chelsea Warren (Scenic & Props Designer).

  
  

Continue reading

Review: Shakespeare’s King Phycus (Strangetree Group)

A hilarious romp through Shakespeare’s tragedies

 phycus-eyeout

   
The Strange Tree Group presents
  
Shakespeare’s King Phycus
  
Written by Tom Willmorth
Directed by
Ira Amyx
at
The Building Stage, 412 N. Carpenter (map)
Through July 31  | 
tickets: $25-$45  |  more info

Reviewed by Oliver Sava

Written in 1988, Shakespeare’s tale of King Phycus and his children Juliet and Hamlet is the bard’s first tragedy, a clunky amalgamation of characters and situations that could best be described as a rough draft of the legendary Tragedies that followed. Thought lost for centuries, the play reappeared in the 19th century, but phycus-plotting productions were halted for their connections to the Astor Place Riot and the assassination of President Lincoln.

Yes, the history of Tom Willmorth’s Shakespeare’s King Phycus is completely fictional, but it is the sort of detail that shows Strange Tree’s commitment to their concept. This isn’t a Monty Python-esque farce (it totally is) – this is Shakespeare’s lost tragedy, and the actors perform it with all the grandeur and importance a forgotten Elizabethan masterpiece deserves. In contrast with the ridiculous content of the play, the actors’ stern execution of their craft enhances the comedy of the piece, whether it is the street battle waged with weaponized fruit or the Nurse’s stream of dead baby retorts.

Shakespeare’s King Phycus is at its best when the humor comes from exaggerating the absurdities of Shakespeare’s plots and language. The language of the play, like any rough draft, needs a lot of work. The alliteration is overly aggressive, the rhymes are awkward and many times nonsensical, and wordplay is used so frequently that oftentimes characters lose track of what they’re even talking about. But that’s the point, especially when it comes to the heaps of classic lines that Willmorth butchers with his horrendous poetry, e.g., “By the picking of my nose, something wicked this way goes.” Yuck.

phycus-stareoutWithout the work of the talented ensemble, the script would collapse under its own weight, but the actors’ handle on Shakespeare’s language adds integrity to the play. An Elizabethan rendition of “Who’s on first?” is funnier because the actors are on point with the rapid fire banter of broken up iambic pentameter. Conversely, Friar Don’s (Scott Cupper) final monologue is completely unintelligible, showing that this cast doesn’t need consonants and vowels to be funny.

With each actor playing multiple roles, Shakespeare’s King Phycus is a demanding show performed admirably as the versatile ensemble transitions between roles  seamlessly. Michael T. Downey is noteworthy in the title role, particularly post-eye-gouging, playing the fantastic physical gag so well that the joke never gets old. phycus-chorus-pointingBob Kruse’s wonderfully creepy necrophile Gloucester and Carolyn Klein’s vulgar Nurse are also standouts, with both actors taking the exaggerations of the language and matching it with appropriately outrageous physicalizations.

As funny as Shakespeare’s King Phycus is, when Willmorth relies too heavily on pop culture references (“Isn’t it Ionic, don’t you think?) and unnecessary fan service (Friar Don is a ninja!), the results are groan-worthy and take away from the timelessness of the concept. Some of the jokes go on a little too long, like a dance sequence between Brutus, Romeo, and Sardonicus that could use a good minute of cutting, but the production still stands up well despite these flaws. Like the play’s fictional history, the little details are what make Shakespeare’s King Phycus great, the chamber arrangement of “La Cucaracha” playing in the background of the ball, the improv warm-ups of Hamlet’s friends Goldenberg and Rosenstein. For anyone that loves Shakespeare and wants to see some of his best plays reconstructed then put together in the most haphazardly hilarious way possible, Strangetree’s productions will not disappoint.

   
   
Rating: ★★★
   
   

Continue reading