REVIEW: The Tallest Man (The Artistic Home)

 

Great News: Due to high ticket sales, The Artistic Home

has extended this fine production through August 22nd!!

Of travelers and tall ghosts

 

The Tallest Man

   
The Artistic Home presents
   
The Tallest Man
   
Written by Jim Lynch
Directed by John Mossman
at
The Artistic Home, 3914 N. Clark  (map)
through August 22nd  |  tickets: $22-$27  |  more info

reviewed by K.D. Hopkins

I was born and raised on Chicago’s South Side, and have heard a good deal of what is called Irish tradition and superstition. Ghosts, feuds, remedies for bad luck, and  pride in one’s culture abound in the Artistic Home production of The Tallest Man. This fine production brings to life a land and culture in a humorous and touching way.

Tourmakeady, County Mayo Ireland around the turn of the 20th-century is the setting for this tale based on the stories told to playwright Jim Lynch. The people have survived the Great Potato Famine and live under British rule on Irish land. Here they The Tallest Manscramble for survival; land ownership is brutal and unrelenting with the collector looming around every corner.

The characters are introduced around the centerpiece of Breda Kennedy’s pub. Breda and her daughter Katie run the pub and Breda demands respect as the only Catholic woman who owns anything in County Mayo. Miranda Zola plays Breda with lusty ferocity, looking like a woman who has been ten rounds and won bare-knuckled. It is a brilliant performance from Ms. Zola, who I last saw playing a more deluded matriarch in The Artistic Home production of The House of Yes (our review ★★★).

The action begins in the pub with local sots Tommy Joe Lally (Frank Nall) and Johnny Mulligan (Bill Boehler). The two men sit at a barrel table drinking steins of whiskey and telling tales of the Tall Man, whose presence has altered life in Tourmakeady. Katie Kennedy tends the pub and dismisses the two men as yokels who are full of blarney. Katie (played with deep longing and courage by Marta Evans) yearns to go to a mythical New York where she can be a fine lady with furs and jewelry. She refuses to be tied down to the only other landowner – Tommy Joe. Early on it is apparent that Lally and Mulligan are always getting into absurd situations. They are the Vladimir and Estragon of County Mayo, showing their comedic genius in a scene where they pose as Cain and Abel after losing a card game to the parish priest.

The town of Tourmakeady is a character as well in this production. Set designer Mike Mroch has represented this environment through a darkly-painted stage replete with foreboding hues of green and fully-embellished with leaves.  It is not quite the rolling and verdant hills of Irish legend, but instead a survivor of famine and blood spilled over land rights. The cemetery and church have the same aura. Along with Mroch, playwright Jim Lynch and director John Mossman have crafted a complete fusion of time, character and place without compromise.

The Tallest Man The Tallest Man

The history of the Irish Travelers is a motif of the story. The main characters of Finbar McDonough and his cousin Frankie Walsh are from the Traveler tradition. They are called Tinkers in The Tallest Man, and represent a shameful and unwelcome part of Tourmakeady to Breda Kennedy. They are scoundrel, thieves, and worse. Finbar McDonough is in love with the beautiful lass Katie. Shane Kenyon plays Finbar with a devilish and sexy glint that is most appealing. He and Katie make out in the dark outside the bar and make plans for the future. Katie wants out and Finbar want to settle old scores. They have a wonderful chemistry without the airbrushing or any false notes.

The Tallest Man also exposes the Catholic Church as a seedy partner in the people’s struggle of Ireland. Malcolm Callan plays the local priest, Father McLaughlin, of Tourmakeady with unctuous vigor. He is seen extorting kickbacks from the landlord’s The Tallest Man representative. Father McLaughlin couches his demands from Newcomb (delightfully played by Eamonn McDonogh) under the guise of helping ‘his people’. The dialogue of how ‘their dirty faces look to me every Sunday’ made my skin crawl considering the current events with some of the priesthood. Devout lad Frankie Walsh discovers Father McLaughlin’s underhanded activities. Frankie remembers his daddy fondly, and feels responsible for his death by speaking at the wrong time. He cannot forgive McLaughlin’s duplicity of blessing his father’s funeral while being responsible for his death. Walsh projects wrath, grief, and guilt so beautifully in a part that could be really over the top. Darrelyn Marx as Finbar’s mother Mary is also wonderful, possessing a gorgeous voice when she sings of her son. It’s a moment to bring tears to the eyes.

Jim Lynch also brings tears of laughter through his capturing of Irish wit and tradition without false embellishment. The Tallest Man is a rowdy good time. The language is coarse and the action is naturalistic. There is blood, sweat, spit, and lust in every scene both implied or seen. John Mossman directs this production seamlessly; every scene and character flows as well as fits in what could easily be a complicated puzzle. More than just a tale of Tinker ingenuity, the work is the story not told in the history books but instead around the table, or at the corner bar, or at your grandfather’s knee no matter your genealogy. See it, and you’ll also see your family somewhere within.

   
   
Rating: ★★★
 
 

The Tallest Man plays on Thursday, Friday, Saturday, and Sunday through August 22nd, 2010. The Artistic Home Theatre is located at 3914 N. Clark near Irving Park. For tickets call 1-866-811-4111 or visit www.theartisthome.org

   
   

Featuring Ensemble members Marta Evans, Nick Horst, Frank Nall, and Miranda Zola; and Guest Artists Shane Kenyon, Eamonn McDonagh, Darrelyn Marx, Malcolm Callan, Brandon Thompson and Bill Boehler.

Directed by John Mossman
Produced by Jimmy Ronan and Samantha Church
Assistant Directed by Kristin Collins
Stage Manager: Rose Kruger
Lighting design by Josh Weckesser
Scenic Design by Mike Mroch
Costume design by Ellen Seidel
Sound/Original Music design by Aaron Krister Johnson

     
     

REVIEW: You Took Away My Flag (Modofac Productions)

Take away these lyrics

 

253_FINAL-YOU_TOOK_AWAY_MY_FLAG-wo_strawdog

 
Modofac Productions, LLC presents
 
You Took Away My Flag: a Musical About Kosovo
 
Book, music and lyrics by Henry H. Perritt Jr.
Directed by
G. J. Cederquist; musical direction by Jeremy Ramey
At
Theatre Building Chicago, Lakeview
Through May 23 (more info)

Reviewed by Leah A. Zeldes

Henry H. Perritt Jr., the Chicago-Kent College of Law professor who authored and produced You Took Away My Flag: a Musical About Kosovo knows a lot about his play’s subject — he authored two books about the disputed Balkan territory and spent 10 years working toward its redevelopment as an independent state — and something about writing music.

What he doesn’t know is the first rule of drama: Show. Don’t tell.

There’s so much exposition in this musical, it could be a textbook. And it doesn’t help a bit that it’s a sung-through format, so all this explication comes at us in recitative form. Even worse, the lyrics often jar against the music with too many feet per beat, poor scansion and bad rhymes, in awful couplets like these:

 

"Your kind heart will keep you from ever
Using that AK47."

"Must we endure the Serbians’ yoke un-
Til our backs are truly broken?"

"Talk all you want. I don’t care.
Successful insurgencies are really rare."

The exposition begins with the opening song, in which the narrator, a trench-coated American reporter (Brian Birch), gives us some history of the conflict in Kosovo between the occupying, Serbs and the "proud Albanians" — the story is unabashedly 253_FINAL-YOU_TOOK_AWAY_MY_FLAG-wo_strawdogpro-Albanian — and sets us up to meet 18-year-old Arian (Jordan Phelps), his best friend, Fahri (Ethan Saks), and Arian’s older sister, Vjosa (Amy Steele). The three all work in a cafe run by the siblings’ father, Fatmir (Joshua Harris).

Arian chafes under Serbian military law, but Vjosa is just as bothered by the strictures of Albanian society, and longs for the freedom of America. She is secretly in love with a Serbian officer, Dragan (Shaun Nathan Baer), an unheard-of miscegeny. The boys enrage some Serbian soldiers by taunting them with the Albanian flag. While Dragan protects Arian, one of his men kills Fahri. Vowing revenge, Arian goes off to join the Kosovo Liberation Army, a band of guerrillas led by Driton (Patrick Cannon).

Meanwhile, Dragan drunkenly asks Vjosa if she still loves him. She does, but she’s not above stealing secret Serbian plans from him to give to her brother. Fatmir and the reporter try unsuccessfully to get the U.N. to intervene in Kosovo. The fighting goes on, the passage of time symbolized by the reporter’s increasingly blood-stained trench coat, and the purloined plans make no difference.

253_FINAL-YOU_TOOK_AWAY_MY_FLAG-wo_strawdog Guilt-stricken Dragan gives the reporter compromising photos of Serbian atrocities that bring international aid at last, and NATO bombs the Serbs out of Kosovo. The proud Albanian Kosovars next struggle with international authorities, ultimately declaring independence but never getting back their Albanian flag.

Parts of the plot seem unlikely, yet not more so than in other musicals. But there’s way too much of it — too many complexities and too many scenes covering too long a time period.

The young cast, all beautiful singers and fine actors, do a heroic job with the material. The music, if not always melodious, is pleasant enough, and sometimes stirring, with a contemporary pop sound. Music director Jeremy Ramey and his musicians (David Orlicz, Nick Anderson and Nick Boettcher) give the score everything they can, but the tunes and the performances have no chance at all against the relentless horribleness of all those words.

 

Rating: ★½

 

 

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