Review: The Voodoo Chalk Circle (State Theatre Chicago)

  
  

Brecht adaptation successfully unearths New Orleans of old

  
  

Sarah Addison Ely, Ellenkate Finley, Alexis Randolph, Genevieve Lally-Knuth in a scene from State Theatre's 'Voodoo Chalk Circle'

   
State Theatre presents
  
The Voodoo Chalk Circle
  
Adapted by Chelsea Marcantel
Based on the original play by
Bertolt Brecht
Music by
Chris Gingrich and Henry Riggs
Directed by Tim Speicher
at the Viaduct Theatre, 3111 N. Western (map)
through May 8  |  tickets: $10-$20  |  more info

Reviewed by Jason Rost

There was a unique and fascinating collaboration that occurred between two small theatre companies this year. The “Full Circle Festival” may have unfortunately fallen off the radar for many theatergoers; however, it began with Theatre Mir’s powerfully resonant production of Bertolt Brecht’s The Caucasian Chalk Circle (our review ★★★★). Now, the State Theatre has given us the wonderful opportunity to revisit this story in a new light with Chelsea Marcantel’s New Orleans set adaptation, The Voodoo Chalk Circle. Marcantel has been an up and coming playwright in Chicago for a few years, and this may be her most ambitious and successful endeavor to date. Tim Speicher’s intelligent and creative direction creates a captivating visual and aural experience that is heavy on theatrics and light on political Brechtian alienation. After experiencing Theatre Mir’s substantial production, this abridged retelling is a fresh and exciting compliment.

A scene from State Theatre's 'Voodoo Chalk Circle'Before the play begins, the multi-talented Nick Demeris warms up the crowd as a street performer, similar to those that frequented the tourist areas of pre-Katrina New Orleans. We are then catapulted into a pre-hurricane New Orleans by our narrator, Josh Hambrock. He introduces us to Grusha (Ellenkate Finley) on her 21st birthday, which is being celebrated at a downtown nightclub on the eve of an encroaching hurricane. As opposed to Brecht’s Grusha, who is the servant to a governor, Marcantel perfectly casts her as the servant to the mayor of New Orleans’ wife, Nathalie (a strong performance by Jodi Kingsley). Playing her opposite is Simon (Caleb Probst), who proposes marriage on that evening. After her night out, Grusha returns to the boarded up mansion where she resumes her duties as the surrogate mother to the infant son, Michael, of the neglectful mayor’s wife.

And then there’s the storm. Speicher and music director, Chris Gingrich create an ingenious cacophony of sound, utilizing the evocative Sound Chorus. Combining crashing sheets of metal, jugs of water, wind vocalizations and drumming, the sense of calamity is created magnificently. During the post-storm, Grusha, along with Nathalie’s forgotten baby, flee for the suburbs of the North Shore seeking refuge with her sister. Instead, she finds what is essentially a Voodoo commune living in the ruins. They have rendered rebuilding pointless and have embraced the ways of “the old.” Their leader is the morally ambiguous Baron Samedi (played by Mark Viafranco with remarkable physicality and dexterity). Her sister does finally appear, now reborn into this ancient religion as Erzulie (Cara Olansky). Olansky is compelling in her performance as a woman who has lost everything and has turned, as often people do after traumatic events, to religion. However, Olansky gives us glimpses of loss and grief behind the stone face of a religion that celebrates the eternal, rather than mourns death.

Although engaged to Simon, Grusha agrees to be wed for security reasons to Zeke (Zachary Kropp), a man who appears to have been crippled from a roof collapse. Kropp gives a somewhat unconvincing performance, and the true motives of the character remains vague. However, for utilitarian purposes, the character serves the plot well during Simon’s discovery of Grusha living a life he had not expected to find her in. The final chalk circle scene remains faithful to Brecht’s original text, yet is modified just enough to allow for the ending to carry a certain element of surprise.

While there is strong acting and talent throughout, the casting could benefit from more diversity in ethnicity and age to truly provide the authenticity of New Orleans. Overall, the cast plays slightly on the younger side for a play focused on old traditions. Nevertheless, formidable performances are given by Finley and Probst. Hambrock is engaging as part Our Town Stage Manager: floating in and out of the world of the play, omnipresent, setting scenes and introducing characters—and part Orson Welles in The Third Man: revealing his true function as the judge of morality only in the final act, playing Brecht’s “walking contradiction”, Azdak.

Marcantel’s script is entirely worthy of this fine production. She has found an appropriate contemporary setting for this story and carries the action briskly with high stakes. She perhaps misses an opportunity to connect to Brecht’s original play further due to the fact that she treats the hurricane solely as a natural disaster without examining the political catastrophe in the city more in depth. Whereas Brecht’s war of rebellion was more concerned with the manmade cycle of oppression and corruption, the hurricane in Marcantel’s adaptation is rather “Oz-ian”, a dramatic tool in the form of a catastrophe turning the world upside down. I was also left wondering why Marcantel goes to great authentic lengths in setting this story richly in New Orleans, yet never quite goes as far as referencing New Orleans, Katrina or any other specifics directly. It’s possible some immediacy was lost with this decision. Her dialogue is best in the earlier sections of the story discussing class struggles and Voodoo practices, but falls slightly flat in the oversentimentality of the Grusha and Simon love story.

In the end, it is Speicher’s concept, the emergence of the past from the ruins of modernity, which makes this play a must-see. He truly understands the ritualistic nature of Marcantel’s setting. Gingrich and Riggs’ music is a driving force of nature throughout the play. The Sound Chorus serves as the spiritual voice and heartbeat of old traditions made anew. Shaun Renfro’s set design condenses the action to an intimate section of the barn-like Viaduct space by the use of hundreds of cardboard boxes, reminiscent of essentials that were airdropped to Katrina survivors. In addition, Renfro creates an ingenious playground of set pieces that allow for interaction with the actors. Taylor Bibat’s shadow puppetry represents the concept perfectly by providing an ancient theatrical tradition as opposed to video projections.

The final monologue Marcantel writes for Azdak is poetic and resonant stating, “It’s hard to see how everything comes together, until everything falls apart.” While this production soars, I am left hoping that Marcantel may continue to develop the script into a full adaptation finding more parallels and urgency in the injustice that occurs in the aftermath of natural disasters. It is of high compliment that I wished to spend even more time with these characters and in this world Marcantel has transplanted them to—nevertheless, it is immediately an important piece of theatre this season that should not be overlooked.

  
  
Rating: ★★★
  
  

The Voodoo Chalk Circle presented by State Theatre Chicago

The Voodoo Chalk Circle continues at The Viaduct through May 8th, with performances Thursdays, Fridays, and Saturdays at 7:15pm and Sundays at 3pm. Running time is 1 hour and 45 minutes with no intermission. Tickets are $10-$20, and can either be purchased online or by calling (773) 296-6024.  For more information, visit www.statetheatrechicago.com.

The Voodoo Chalk Circle is part of the “Full Circle Festival” in collaboration with Theatre Mir to provide audiences with two uniquely different versions of Brecht’s The Caucasian Chalk Circle. The State Theatre closes the festival following Theatre Mir’s production of The Caucasian Chalk Circle directed by Jonathan Berry.

 

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REVIEW: Reefer Madness (The Brown Paper Box Co.)

 

Hilarious musical romp through the wide world of weed

 

Reefer Madness - Brown Paper Box Co 003

   
The Brown Paper Box Co. presents
   
Reefer Madness
 
Book and Lyrics by Kevin Murphy
Music by Dan Studney
Directed by M. William Panek
Viaduct Theatre, 3111 N. Western (map)
through October 24  |  tickets: $15-$20  |  more info

Reviewed by Oliver Sava

The 1938 propaganda film “Reefer Madness” sought to teach the ignorant American masses of the dangers of “marihuana”, including but not limited to grand theft auto, sexual deviance, and murder. Paranoid and misinformed to the extreme, the film’s absurd plot and hilarious depiction of drug users have made it a cult classic, and Kevin Murphy and Dan Studney’s musical spoof is a wonderfully over-the-top  expansion of the film’s best ideas, mainly the claims that marijuana turns people into sex-crazed baby-killing socialists.

Reefer Madness - Brown Paper Box Co_ 006Directed by M. William Panek, The Brown Paper Box Co.’s production of Reefer Madness is at its best during group numbers, when the cast fearlessly tackles the offensive subject matter with vocal gusto. During the smaller numbers, some of the actors struggle to adjust to the absence of the group, and the singing loses precision and clarity.

The musical revels in gratuitous sex and violence, and the exaggeration of these elements highlights the ridiculousness of the movie’s plot, the tragic tale of high school students Jimmy Harper (Tyler Davis) and Mary Lane (Anna Schutz). Under the false pretense of swing dance lessons, drug pusher Jack Stone (David Geinosky) invites Jimmy over to the Reefer Den, where his life will be changed forever.

When Jimmy takes a hit of marijuana for the first time, rather than experiencing lethargy and munchies, Jimmy life descends into a mess of unbridled orgies, Jesus hallucinations, and running over old men with Mary’s car. While Davis’ jonesing can get a little grating to watch at times, he and Schutz showcase impressive vocals, and the two actors have no problem transitioning from adorable sweetness to devilish insanity. Some of the high notes could have more power behind them, and there needs to be a better balance between the volume of the principals and the chorus behind them, but Jimmy and Mary’s tragic romance is a constant source of humor throughout the production.

Reefer Madness - Brown Paper Box Co 004 As the denizens of the Reefer Den, junkies Ralph (Michael Gardner), Sally (Jillian Kate Weingart), and Mae (Chelsea Paice) have some of the best moments in the show as stumble around the stage, humping and smoking whatever they can. Wiley is fantastically manic as Ralph, and is extra creepy as Sally’s baby in one disturbing interlude. Paice gets one of the best ballads of the show, and while she handles the lower register well, the big money notes are lacking in energy and support. Weingart has a similar problem, but she makes up for it with her powerful belting and fierce sexuality.

Reefer Madness is a musical that is not afraid to offend. Whether it is through explicit sexuality or graphic violence, the show pushes the boundaries of musical comedy, taking it to hilariously dark place. Brown Paper Box Co.’s production needs a little more polish to be truly memorable, but the actors tackle the material with dedication and courage. Despite the lows, this musical never comes down from its high.

   
   
Rating: ★★½
   
  

Reefer Madness - Brown Paper Box Co 002

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