REVIEW: Trickster (Halcyon Theatre)

  
  

Epic tale propelled by audacious scope; uncompromising artistic vision

  
  

Riso Straley and Scott Allen Luke--Photo byTom McGrath

  
Halcyon Theatre presents
  
Trickster
  
Written and Directed by Tony Adams
At
Greenhouse Theater Center, 2257 N. Lincoln (map)
through Jan 30  | 
tickets: $18 – $20 |  more info

Review by Catey Sullivan

With Trickster, Halcyon Theatre takes on a wildly ambitious epic of ancient Native American lore woven into a contemporary story of survival in apocalyptic world. Written and directed by Halcyon Theatre’s Artistic Director Tony Adams, the piece’s challenging, provocative sprawl of interlocking tales doesn’t always form the most coherent narrative. But what it lacks in clarity, it makes up for in sheer audacious scope and an uncompromising artistic vision.

Arch Harmon as Fox--Photo byTom McGrathWithin the animal world, the earth’s four-legged creatures battle a dark fate overseen by a cruel Wolf Master. At the same time, a rag-tag group of humans try to stay alive in a burned out landscape where water and food are scarce and marauding soldiers are everywhere. Think ‘The Road’ merged with a highly sexualized take on Aesop’s Fables merged with the intricate Native American belief system of Spirit Animals and you’ve got a good idea as to the ruling aesthetic that governs Trickster.

Adams’ wild ride begins with a slam poet cry to a muse, and a violently worded harbinger of what’s to come. From there, the audience lurches to a fever-dream of a sex scene where in two dimly lit bestial creatures are making the beast with two backs. The illicit union of Swan (Christine Lin) and Coyote (Scott Allen Luke) leads to Coyote being chased to river, where he jumps in and assumes the shape of a stone. Flash-forward 500 years: Coyote has emerged from the river and been restored to his regular shape, only to find a world in ruins.

Competing storylines ensue as the animals attempt to redeem a world that’s a burnt-out husk and the humans try to keep from starving or death or being gang-raped by soldiers. The primary trouble with Trickster lies in the editing process: plots and sub-plots branch out from each other like an endless root system continually stretching out, increasingly tiny branches moving ever farther from the primary trunk. The result is that Trickster becomes compartmentalized – defined by many different storylines that don’t always add up to an emotionally resonant, authentically connected whole. The piece would benefit from some judicious pruning. At almost three hours, Trickster sometimes rambles despite the truly streamlined pacing.

As for Adams’ epic-sized cast of 19, it’s a beautiful thing to behold. This is the rare ensemble that truly reflects Chicago. Despite the best of intentions, the vast majority of theater companies simply don’t look like the city they spring from: Color blind casting doesn’t happen with any degree of regularity in Chicago. Halcyon is fiercely committed to it and with ensembles such as the one in Trickster, offers proof that diversity and excellence are hardly mutually-exclusive concepts. Halcyon is leading towards the time when multi-ethnic casting is the norm and doesn’t even warrant a mention.

There are several beguiling performances within Trickster’s ranks – Yadira Correa is delicious as a predatory owl intent on eating children. Riso Straley absolutely gets the combination of vulnerability borne of irrecoverable heartbreak and untouchable toughness borne of surviving in a battle-hardened world.

Scott Allen Luke, Arch Harmon and Rafael Franco--Photo byTom McGrath (R to L) Riso Straley, Derrick York and Rudy Galvan in Trickster--Photo byTom McGrath

Others don’t fare quite so consistently well: It’s difficult to understand much of the dialogue that springs from Fox (Arch Harmon) – his words are muffled, his diction muddy. And despite the cast’s size, there’s some distracting double/triple casting going on: As the final scenes wore on, it felt like the same three or so characters kept getting killed. When an actor gets his throat cut, shows up a few scenes later to have his neck broken, and shows up still later to suffer a fatal gunshot wound, well, the impact of the violence is diminished.

The production benefits greatly from costume designer Izumi Inaba’s work, which is a playful, furry example of creativity triumphing the constraints of a small budget. Her canine creations are the strongest, wild and wooly headpieces that emulate the spirit of the animals the actors are depicting, if not their literal appearance. Adam’ spare, burnt orange scenic design evokes the blistering heat of the great southwest, as well as the ancient art of the cultures who lived there millennia before the white folks showed up.

Halcyon Theatre demands a lot of its audiences. This isn’t the theater of effortless escapism. Instead, Adams takes you down a dark and difficult path, demands that you pay attention and leaves you with a brain overloaded with questions of morality, philosophy and the intricate nature of the human condition.

   
   
Rating: ★★½
  
  

Helen Young and Jennifer Adams in Trickster-- Photo byTom McGrath

Featuring: Jenn Adams, Yadira Correa, Delicia Dunham, Rafael Franco, Rudy Galvan, Johnny Garcia, Kamal Hans, Arch Harmon, Arvin Jalandoon, Christine Lin, Scott Allen Luke, Goli Rahimi, Johanna Middleton, Julie Mitre, Ruth Schilling, Riso Straley, Helen Young and Derrick York. (Cast & Production Team bios after the jump)

 

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REVIEW: Cherrywood (Mary-Arrchie Theatre)

Party on, Dude!

 

cherrywood

  
Mary-Arrchie Theatre presents
  
Cherrywood: The Modern Day Comparable
   
Written by Kirk Lynn
Directed by
David Cromer
at
Angel Island Theatre, 735 W. Sheridan (map)
through August 8th  |  tickets:  $13-$22  |  more info

reviewed by Katy Walsh

Fliers announce ‘Party Tonite for anyone who wants a change.’ Mary-Arrchie Theatre presents the Midwest premiere of Cherrywood: The Modern Day Comparable.  A foursome decides to host a party. They have three kinds of chips, an array of music, bottles of booze and a shots of… milk? In response to their fliers, the guests arrive and fill up the house. The usual party suspects are all present. Free loading crashers. Whiny girl. Depressed divorced guy. Unwanted neighbor. Gaggle of gals in bathroom line. P.D.A. couple on the dance floor. Hot shirtless guy. Person continually announcing ‘I’m wasted.’ Sporadic drunken wrestling. It feels, looks and sounds familiar except with a couple of twists: Somebody brought a gun. Everybody has been drinking wild wolves’ milk. People are opening boxes of their secret desires. Cherrywood: The Modern Day Comparable is a virtual reality party experience without the pressure to mingle or the aid of a cocktail.

In a large living-room-like space, the audience seats encircle the action. Closely matched in numbers, the 50+ wallflowers watch the 49 performers party. It’s such a tight fit that I needed to move my purse before a guy sat on it. Director David Cromer has gone fire-code-capacity to create an authentic party.

The proximity blurs the fourth wall completely in deciphering between the party gawkers versus goers. I consciously refrain from shouting out an answer to ‘name a good band that starts with the letter ‘A’.’ It seems like a jumbling of improv mixed in with scripted lines. Crediting playwright Kirk Lynn with some of the best lines, it’s existentialism goes rave with the ongoing philosophy ‘if you want something different, ask for it.’ Lynn writes dialogue describing cocktail banter as ‘question-answer-it-doesn’t-always-happen-like-that’ mockery. One character describes herself with ‘everything I do is a form of nodding. I want to break my neck to stop nodding.’ In a heated exchange, the neighbor jabs, ‘you remember the world? It’s the room outside the door.’ It’s genuine party chatter. Some conversations are playful. Some are deep. Some just don’t make any sense. Clusters of people are sharing philosophical drunken babble throughout the room. A gunshot brings the house of strangers together in a communal bonding alliance.

For the theatre goer looking for a break from classic plot driven shows, Cherrywood: The Modern Day Comparable is performance art. It is a ‘Party Tonite for anyone who wants a change.’ For those who wonder what Chicago actors and designers do off-season, this is an opportunity to fly-on-the-wall it. If you’ve anticipated they hang out together and party, this would be your imagined drunken haze. The who’s who of storefront theater is boozing it up. It’s a Steep, Lifeline, Dog & Pony, House, Griffin, etc. reunion bash, and man do they know how to party!

  
   
Rating: ★★★
       
    

Running Time: Ninety minutes with no intermission

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