REVIEW: 1985 (Factory Theater)

 

Strong performances penalized by repetitive punchlines

 

 Factory Theatre - 1985 - DCA Storefront Theatre 002

   
Factory Theater presents
   
1985
   
Written by Chas Vrba
Directed by
Eric Roach
DCA Storefront Theater, 66 E. Randolph (map)
through November 7  |  tickets: $15-$25  |  more info

Reviewed by Oliver Sava

Chicago, 1985, and the Bear Nation holds totalitarian control over the city’s football fans. As the Bear Nation’s chief propaganda writer Winston (Chas Vrba) begins to question why everyone devotes their lives to a team that keeps losing, the unfathomable happens: the 1985 Bears start winning. A lot. In Chas Vrba’ 1985, George Orwell’s dystopian classic “1984” is reimagined in the grisly world of professional sports, where Big Brother is “Papa Bear” George Halas (Ernie Deak) Factory Theatre - 1985 - DCA Storefront Theatre 004 and Room 101 turns Packers fans into blue and orange-clad zombies. Vrba should be applauded for trying to bring a new audience of sports fans to the theater, and the clever script is impressively researched and filled with references to the professional sports world.

Winston’s loyalty to the Bear Nation begins to crumble when he notices the flaws in the Nation’s doctrine. A romance with new recruit Julia (Lindsay Verstegen) blossoms into full blown treason, as the two hatch a plan to enlighten their friends through loss. In the midst of the absurdity, Vrba begins to examine the subconscious of the football fan, and the reasons why people cheer for the teams that keep losing. The reason is for years like the ’85 Chicago Bears. The ‘90s Bulls. 2010 Blackhawks. Winning is so much sweeter when all you know is loss. Unfortunately, the script spends less time on idea and more on the goofy antics of the Bear Nation.

Maybe I’ve been spoiled by The Elaborate Entrance of Chad Deity (our review), but a comedy about sports culture needs to survive on more than audience-specific jokes and slapstick physical comedy. Vrba’s concept has the potential to explore the deeper emotional and psychological connections between the fans and their team, but this takes a back seat to an uninspired love triangle between Howard, Julia, and foul-mouthed Diane (Stacie Barra). After a while, the script develops the feel of a sketch comedy idea that has overstayed its welcome. Despite the strong efforts of the cast, the limited supply of jokes and gags gets old, making the latter half of the play drag as it retreads old ground. “Bear down!” as a pledge of allegiance stops being funny pretty quickly, and the barrage of groan-worthy Bears puns (“membears,” “bearification,” “bearnificent”) seldom stops, but it’s hard to fault the actors when they show such dedication to their material.

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The hardcore followers of the Bear Nation are unabashed in their chaotic revelry, and the larger group sequences are the most memorable in the production. When everyone gathers to watch the game, you sense the camaraderie An early scene where the Nation puts “membear” Matt (Timothy C. Amos) on trial for his allegiance to the Resistance and role in the Cubs’ loss of the ’84 National Series Championship erupts into a viciously hilarious free for all, and an enraged Amos proves a more than capable opponent for the Nation. Matt’s transformation after a visit to Room 101 gives  Amos a lot of opportunities for screwball comedy, and his reactions to cast mates often trump the actual dialogue. But as the show progresses his outbursts become superfluous; his character another joke Factory Theatre - 1985 - DCA Storefront Theatre 001gone stale. Compared to his ecstatic scene partners, Vrba’s controlled, soft-spoken portrayal of Wilson gets lost in a flood of crazy. Wilson never appears very thrilled about the Bears, so when his friends complain about his odd, withdrawn behavior, it just doesn’t make sense.

The sports play is an intriguing creature. The dramatic and comedic potential of professional athletics has been explored by Hollywood, but remains largely unknown to the theater world. The possibility of the same people packing the stands at Soldier Field filling the seats of Chicago theaters is a thrilling one, both from a financial and intellectual standpoint, but is probably an unrealistic hope for most theaters. 1985 is a step in the right direction, and Eric Roach’s slick direction keeps the pace of Vrba’s clever script as smooth as the Super Bowl Shuffle. Despite it’s problems, 1985 has more comic morsels to offer Bears fans than any other play this season, and football fans should definitely give it a look – it will be a night to “remembear”.

   
   
Rating: ★★½
   
   

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REVIEW: Factory Theatre’s “Hunky Dory”

A little less loud. a bit more funny.

HunkyDory 

The Factory Theatre presents:

Hunky Dory

by Joe Gehr
directed byJosh Graves
thru December 19th (ticket info)

review by Aggie Hewitt

The Factory Theatre is a quirky little theatre that produces comedic farcical productions. Hunky Dory, their late night show, introduces us to a Texas family that is part “Deliverence”, part “Rosanne”. But this family is not just poor, trashy and evil – they own a coach house that is absolutely irresistible to retired Sarah Lawerence professors and Chicago doctors looking for a quiet place to write their memoirs. Why? It doesn’t matter. All that matters is that this family is going to kill those upper-crust Northerners and collect their social security checks.

Performers at the Factory Theatre like to yell. They seem to have picked up the idea that this is how humor is communicated. In the world outside the theatre, a lot of people have this misconception as well, and I have never understood it. What is there about loud noises that is so funny to these people? Are they just all fighting for one’s attention? If that’s the case I have news for the Factory Theatre bombasts: all of the chairs in the house face the stage. If you are on stage, someone will pay attention to you. Please stop screaming.

Apart from that, the whole production just seems lazy; as if no thought at all were put into any aspect of it. The story, staging and writing in this show are unfortunately equally bland – monotone and without heart. Chicago performers, writers and directors looking to work in comedy have to understand that big does not equal funny. (Of course, big can be funny if it is an aspect of the entire joke, but it’s not a secret formula for it). 

My advice? Steer clear from this production, but please do not write off the Factory Theatre. They’re a smart group that perhaps lost some guidance on this particular show. I look forward to smaller and brighter things to come in future productions.

Rating: ½

 

Cast

Elmer . . . . . . . . . . . . . . . . . . . . . . . . Blake Dalzin
Char . . . . . . . . . . . . . . . . . . . . . Sarah Rose Graber*
Momma . . . . . . . . . . . . . . . . . . . . Christine Jennings*
Aunt Sue . . . . . . . . . . . . . . . . . . . . Jennifer Pompa*
Guj . . . . . . . . . . . . . . . . . . . . . .Christopher Marcum
Grandpa Freddy. . . . . . . . . . . . . . . . . . Steve Welsh
Mr. Thompson/Snyder/Russell . . . . . . . .Justin Cagney
Mrs. Thompson/Snyder/Russell . . . . Erin Elizabeth Orr

Crew:

Director……………….…….…Josh Graves*
Writer……………………………Joe Gehr*
Executive Producer……………Carrie J. Sullivan*
Producer………………..……………Allison Cain*

Sound Design…………………………….Nick Booth*
Stage Manager………………….Elizabeth Boros-Kazai

* connotates Ensemble Member

for cast bios, click on “Read More”

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REVIEW: Factory Theater’s “1985”

 Papa Bear is watching you

 

1985Poster

The Factory Theater presents:

1985

by Chas Vrba
directed by Eric Roach
thru December 19th at Prop Thtr (ticket info)

reviewed by Aggie Hewitt

1985-castThe Factory Theater’s 1985 is a work of true love, from beginning to end. Chas Vrba is passionate about the subject matter, and it comes across in the concept and the layout of his farcical first full-length play. A re-imagining of George Orwell’s iconic science fiction novel “1984” set in 1985 Chicago at the height of the Bears season.

Winston (Vrba) has the same name and function as George Orwell’s protagonist, but we never get much of a read on him or any of the other Orwell inspired characters (it’s a farce, remember?). A sports writer, he is in charge of writing pro-Bears propaganda (and believing it, too) and collecting reports on new mem-bears (sic). This is what gets him in trouble with the beautiful and mysterious Juila (Laura McKenzie), who opens his eyes to a world out side of bear nation, and who steals his heart.

What all of this means to you depends entirely upon your experience as a Chicagoan, as a reader of classic science fiction, and as a sports fan. The audience I saw the show with adored it. They were enchanted by the familiar and obscure references that the play is laced with. I on the other hand am not, so was completely lost for a lot of it. Judging from the amount of references to Billy Buckner,  I feel safe in saying that this show was not intended for those of us not originally from Chicago without any sports knowledge or memories of years predating 1988.

It’s hard to talk about such a personal show without personally responding to it. And what’s wrong with that? This show is unapologetically specific, local and esoteric; which is the best that theater can be. Theater does not and should not have the scope of its competing form of entertainment. It is a personal, local thing. This show will not be for everybody. But for some people, it will hit nerves that run very deep.

1985-3 The play has clever ways of weaving Chicago Bearophillia into an Orwellian dystopia. First, it replaces Big Brother with “Papa Bear” George Halas (Ernie Deak), who owned the Bears until his death in 1983. It then turns Chicago into “Bear Nation,” where thoughtcrimes against the Bears are punishable by being sent to the dreaded and mysterious room 101. It saturates the dialogue with so many Bears puns that less than 15 minutes in, you can feel them coming and where. Finally, it shows Chicago hard-core sports fans for the brainwashed, cold-hearted intellectual slaves they sometimes appear to be. One of the best moments in the play comes after one character; a particularly devoted and disturbed mem-bear delivers a monologue explaining the camaraderie between the Cubs and the Bears. His conclusion is that cubs are baby bears, meaning that the two go together. He then rhetorically asks, “What goes with White Sox? White Hose? That would be better suited for describing their women!” which is met with cheers and applause by his brainwashed brethren. This moment is so shocking because the language is so course and out of place – especially falling on ears numbed by 45 minutes of Bears puns – that it totally encapsulates what is wrong with Chicago fandom. For those not from here, or with out the memories of 1985, the show may not hit home. But all who live in Chicago can relate to the dangerous peaks that fans climb to, the dangers of seeing black and calling it white, and more than that, believing it is white. The dangers in seeing a losing team and calling it a winner, and worse than that, believing that it is a winner. In that regard, maybe you don’t have to be from here to get it.

It should be noted that Angelina Martinez’s set is wonderful, minimal, usable and clever, perfect for just such a small Chicago production.

 

Rating: ★★★

 

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