REVIEW: Dental Society Midwinter Meeting (Chicago Dramatists)

Dentists extract some painful truths

 

dsmw - cast

   
Chicago Dramatists presents
   
Dental Society Midwinter Meeting
   
Written by Laura Jacqmin
Directed by
Megan Shuchman
at
Chicago Dramatists, 1105 W. Chicago (map)
through August 7th  |  tickets: $25  |  more info

reviewed by Lawrence Bommer

This is not this season’s most exciting title, but then the world of dentists isn’t exactly fraught with incident. Dental Society Midwinter Meeting is just that—a carefully chronicled, day-by-day depiction of a real convention, an annual conference of dentists where practitioners catch up on the profession’s latest developments, ethical challenges (insurance fraud and drug abuse), and party heart with conventioneers’ jubilation. Though the Chicago Dental Society’s conference is held at McCormick dsmm - 1 Place in February, playwright Laura Jacqmin moves the 6,000 dentists (and 12,000 vendors who prey on them) to the Skokie Marriott, if only to maintain a safe distance from any possible litigation by the C.D.S.

A true ensemble work, Megan Shuchman’s 80-minute world premiere staging presents the entire meeting through the playful testimony of six participants. We get hour by hour updates on the shenanigans and crises of doctors beset by more than just the problem of paying for central air conditioning or correctly coding their invoices to insurers. The male dentists indulge in male fantasies of wilderness adventure as they shop for hunters’ vests at Old Orchard’s L.L. Bean store. The surgeons munch Panera bread as they exchange gossip. One tries to free herself from an unscrupulous vendor whose tooth whitener is toxic. They sing karaoke (horribly) as they shake their booties on Saturday night.

This year’s conference is beset by a scandal in which the president of the North Shore Regional Dental Society has been caught in adultery with his comely dental hygienist; worse, he’s allowed her to practice advance dental procedures without a license. (Nothing really comes of this red herring.) The dentists are also supposedly caught up in late night discussions on how to clean up their leader’s act and their trade’s questionable image. Can they reform such a morally challenged pursuit?

Other problems fraught with insider details concern a gay dentist whose partner has been caught cheating on his lover’s billing practices. He in turn finds himself sexually manipulated in order to help a colleague in similar hot water.

dentists chicago dramatists castJacqmin certainly knows this medical subculture and examines it compassionately in what amounts to a keyhole-peeping expose. But she’s after more toothy substance than just a breakdown of breakout meetings and keynote speeches. By play’s end, Jacqmin implies that all their talk of self-regulation and moral uplift will, well, decay as the dentists’ bad habits undermine their best intentions. American professionals, it seems, are as trapped by short-sighted and short-term thinking as our corporate overseers.

The real payoff here is no artificially happy resolution of intractable problems but a very believable look at good folks working at cross-purposes to raise standards as much as fees.

    
    
Rating: ★★★
   
    

NOTE: No one under 14 years old will be admitted.

 

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REVIEW: Stage Door (Griffin Theatre)

Huge, hugely talented cast gives their all to ‘Stage Door’

 JeanineBowlwareMechellemoeStacieBarraErinMeyerSkylerSchremmpJenniferBetancourt

 
Griffin Theatre Company presents
 
Stage Door
 
By Edna Ferber and George S. Kaufman
Directed by Robin Witt
Theatre Building Chicago, 1225 W. Belmont Ave. (map)
though May 23 | tickets: $18-$28 | more info

Reviewed by Leah A. Zeldes

One of the most overlooked and underrated writers of the 20th century, Edna Ferber brilliantly showcased the lives of working women in her keenly stories. In the 1936 Stage Door, Ferber and George S. Kaufman crafted an impressive and charming drama about one such downtrodden group.

MechelleMoeatpaino Set in the Footlights Club, a New York boardinghouse for theatrical women, the story follows the lives of the young contenders of Broadway. Hoping for their big break, they subsist on hope and pennies … and often succumb to temptations away from the stage. For the luckiest, Hollywood lures; for others, love, or security, or pure hopelessness.

No one would write a play like this today, and Griffin deserves tremendous props for producing it all. It’s not that its themes haven’t been covered in subsequent plays — 1991’s I Hate Hamlet, for instance, takes on similar Broadway vs. Hollywood issues — but that the cast is huge. There are 32 distinct characters, played in this production by a cast of 27. Quite literally, they don’t make ’em like this anymore!

What’s more, when I say "distinct characters," I mean just that. Each is skillfully introduced, significant and a unique personality that adds to the heart and spunk of this rich play. Director Robin Witt brings out those traits to the fullest.

Mechelle Moe stars as the central character: plucky, generous Terry Randall, who’s been trying to make a go of it on Broadway for three years. Despite her lack of success, she remains stagestruck. "We live and breathe theater and that’s what I’m crazy about," she says.

Her friends tell her she’s talented, but she hasn’t managed more than a few weeks of work in all her time in New York. The play suggests that’s because she’s not beautiful and doesn’t appear well offstage. It’s perhaps a slight flaw in the script that we never see Terry acting, and can’t judge for ourselves. Moe’s own performance occasionally seems too gung-ho, like the young Judy Garland enthusing about putting on a play in the barn, but she makes the audience care about Terry.

We do get to judge the talents of Olga Brandt, a classically trained pianist who earns a living playing for dance rehearsals. "For that I studied fifteen years with Kolijinsky!" she says in disgust, and solaces herself by playing Chopin on the boardinghouse piano. Janeane Bowlware is both a skilled musician and delightfully funny in this difficult role. (In a nice theatrical in-joke, during most of the play, the piano’s music stand displays sheet music from Show Boat, the Jerome KernOscar Hammerstein musical based on Ferber’s 1926 novel.)

We also see some fine comic turns from Sara McCarthy as Bernice Niemeyer, the house busybody; Erin Meyers as the man-hating Ann Braddock; Ashley Neal and Christina Gorman as Big Mary and Little Mary, a Mutt and Jeff duo; and Kate McGroarty as Pat Devine, a leggy dancer earning her living in nightclub shows.

Other notable performances include Stacie Barra, archly dry as Terry’s cynical friend Judith Canfield, and Jeremy Fisher, strong as Keith Burgess, the earnest young playwright on whom Terry pins her hopes. Lucy Carapetyan is ardent as Jean Maitland, who urges Terry to go with her to Hollywood.

mechellemoeJamesFarruggio Maggie Cain gives us a matter-of-fact Mattie, the boardinghouse’s maid of all work, and Chuck Filipov a subtle performance as Frank, a teenage household helper, while Mary Anne Bowman alternately fawns and frowns as Mrs. Orcutt, a one-time actress turned boardinghouse manager.

Judith Lesser and Mary Poole play a compelling scene as Linda Shaw, sneaking in after a night with wealthy married man, and her unexpectedly visiting mother.

Marika Engelhardt plays Madeleine Vauclain, an actress from Seattle, trying to find a double date for visiting hometown conventioneers — Jeff Duhigg and Paul Popp, as a pair of buffoonish Pacific Northwest lumbermen. Rakisha Pollard is brave as Louise Mitchell, an unsuccessful actress sadly leaving Broadway to marry the boy back home in Wisconsin.

It feels like hair-splitting to point out the few flaws. James Farruggio seems a little stiff as David Kingsley, the moviemakers’ agent who urges Terry to stick to the stage, and Caroline Neff is a bit too detached as Kaye Hamilton, Terry’s desperate and destitute roommate.

D’wayne Taylor doubles as a Hollywood producer and as Terry’s father, a small-town Indiana doctor. He acts well in both parts, but he stands out oddly as the one African American in the company, making me wonder what led Witt to cast him. Color-blind casting works well when it’s done with consistency, but if you’re going to suspend historical accuracy for the sake of diversity, you need more than a token. When all the rest of such a large cast is white, it jars suspension of disbelief to have the sole black person in the show play the father of a white woman.

Filling out the cast, Jennifer Betancourt plays Bobby Melrose, a Southern belle; Morgan Maher is her boyfriend, Sam Hastings, an actor from Texas. Joey deBettencourt portrays Jimmy Devereaux, a confident would-be actor who hasn’t ever auditioned for a professional part; Skyler Schrempp, Susan Paige, perpetual understudy; and Erin O’Shea Kendall Adams, daughter of a family of Boston Brahmins.

Witt stages the show in three acts, with two intermissions — a 1930s convention that always makes feel as if I’ve really been to the theater — and blocks it beautifully, particularly in a wonderful Act III scene that puts nearly all the cast onstage. Marianna Csaszar‘s convincing set, built around a central staircase, helps to give the wide-ranging scenes focus.

Stage Door was the basis of the 1937 film of the same name, but the movie’s plot bears little similarity to this delicious play (which seems rather a meta-joke in itself). Don’t miss this rarely performed gem.

 
Rating: ★★★½
 

MechelleStacieCaroline

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