Review: The Master and Margarita (Strawdog Theatre)

  
  

Strawdog explores intersection of religion, magic, insanity – and actors

  
  

(From L to R): Kyle Gibson (Ivan), Tom Hickey (Woland) and Rob Thomas (Berlioz) in Strawdog's "The Master and Margarita". 
Photo by Chris Ocken

  
Strawdog Theatre presents
  
The Master and Margarita
   
Adapted by Edward Kemp
Based on novel by
Mikhail Bulgakov
Directed by
Louis Contey
at
Strawdog Theatre, 3829 N. Broadway (map)
through April 2  |  tickets: $20  |  more info

Reviewed by Katy Walsh

As artistic differences threaten the theatrical production of Pontius Pilate, Satan arrives in town to set the record straight. Strawdog Theatre presents The Master and Margarita. In anti-religion Moscow, a writer works feverishly to create a masterpiece play. His girlfriend Margarita believes he is ‘The Master’ and is willing to do anything to support his writing. The government’s theatrical department interferes with his show. They want to ensure Pontius Pilate discredits Jesus’ existence. Satan and his cronies visit for a little civilization observation. They also want to get their magic show on the stage. Arrested, committed, beheaded, the poor souls of Russia are in chaos. When Satan sheds insight into mortals’ psyches, the balance of life has a peaceful neutralization. The Master and Margarita blurs the division between magic and religion, imagination and psychoses, theatrical and actual, life and death.

Dennis Grimes (Master) and Justine C. Turner (Margarita) in Strawdog's 'The Master and Margarita'. Photo by Chris Ocken.Is it a play about a play about the historical decision maker Pontius Pilate? Or is it the full blown hallucination from an asylum inmate? Is it pro-religion or just anti- being anti? The Master and Margarita is for certain an epic of biblical portions. On a primarily stark set, crowd scenes are choreographed using cast as colorful and changing scenery. The large ensemble is white-faced (make-up designer Aly Renee Amidei) and sometimes black-masked. (Special nod to Amidei for the Centurion’s makeup: I was transfixed.) The mass unified look effectively emphasizes the alternating mood from theatrical to threatening to comical to spooky. Costume designer Joanna Melville goes hellish, dressing up an underworld ball in goth prom attire. The vibrant swirl of activity is non-stop. Under the direction of Louis Contey, the multiple themes and scene transitions flow smoothly and briskly into the next.

A plethora of Russian names, myriad of actors playing numerous roles, and the whitening effect add to a quandary of identification. Among the easily recognized, the damned bunch are hilarious misfits. Tom Hickey (Woland aka Satan) leads with smug wisdom and a surprising twisted kindness. Anderson Lawfer (Behemoth) is hysterical as a talking cat. Without even that many lines, Lawfer drawls the funny out with a bow tie without pants comment. Double-vision, Danny Taylor (Fagott) has a comedic and mysterious allure. Anita Deely (Azazello) is the non-nonsense assistant from hell. As the enduring lovers, Dennis Grimes (The Master) is a gentle martyr-type and Justine Turner (Margarita) is his strong lovely rescuer. The entire ensemble are convincing as actors playing theatre types, actors playing crazies or actors playing people going to hell… or maybe there isn’t a distinction.

The first act is a bubbling manifesto of intriguing confusion. The intermission is a pause from the frenzy to admit uncertainty to the point of the show. At some point in act two, there is an ‘A-ha moment.‘ All the dots connect for art open to interpretation. To sum it up, the cat said it best in one of the final scenes, ‘now, I get this play!’ What the cat said!

     
     
Rating: ★★★
  
  

Guests at the Ball of the Damned, a scene from "The Master and Margarita". Photo by Chris Ocken

The Master and Margarita continues through April 2nd, with performances Thursdays, Fridays and Saturdays at 8pm, Sundays at 4pm. There is no performanceSunday, April 3. Tickets are $20 with group, senior and student discounts available. Tickets may be ordered by calling 773.528.9696 or by visiting www.strawdog.org.

Running Time: Two hours and thirty minutes with a ten minute intermission

     
     

Continue reading

REVIEW: Wuthering Heights (Lifeline Theatre)

 

Gothic gone ghostly

 

 Nelly (Cameron Feagin, right) comforts Cathy (Lindsay Leopold, left), who suffers from tortured visions; in Lifeline Theatre’s world premiere production of “Wuthering Heights,” adapted by Christina Calvit, directed by Elise Kauzlaric, based on the classic novel by Emily Brontë

   
Lifeline Theatre presents
   
Wuthering Heights
   
Adapted by Christina Calvit
From the novel by Emily Brontë
Directed by Elise Kauzlaric
Lifeline Theatre, 6912 N. Glenwood (map)
Through October 31   |  
tickets: $20–35  |   more info

Reviewed by Leah A. Zeldes

In a sense, Emily Brontë’s classic romance is about an anguished love that endures beyond the grave. Despite many gothic elements, it is not, however, a ghost story.

Yet in Lifeline Theatre’s disappointing version of Wuthering Heights, Lindsay Leopold as Cathy Earnshaw, spends way too much time creeping about the stage in a white gown, grasping hands out claw-like, while the rest of the company stands around dismally making "woo-woo" sounds in the background. Where’s the Halloween candy?

Heathcliff (Gregory Isaac, right foreground) is haunted by the memory of his lost love Cathy (Lindsay Leopold, left background); in Lifeline Theatre’s world premiere production of “Wuthering Heights,” adapted by Christina Calvit, directed by Elise Kauzlaric, based on the classic novel by Emily Brontë Adaptor Christina Calvit dumps the eminently dispensable Mr. Lockwood, who frames the original story, and leaves all of the narration in the hands of Nelly Dean (the capable Cameron Feagin), who does most of it in the novel, anyway. But Lockwood’s nightmare about Cathy at the start of the book makes it clear that the dead Cathy’s influence is psychological, not supernatural, paving the way for the dying Heathcliff’s visions of her. Here we have a very solid Cathy pounding at the window to get in, over and over again.

Calvit also excises the pious Joseph, removing the whole theme of religious intolerance and hypocrisy that’s in the novel. Even at that, the production runs nearly 2½ hours.

We’re left with the everlasting triangle of the brooding and increasingly dangerous Heathcliff (darkly handsome Gregory Isaac), the highly strung, self-centered Cathy and the prissy Edgar Linton (nicely played by Robert Kauzlaric), and the second-generation repetition of Cathy’s daughter (a straightforward performance by Lucy Carapetyan), Healthcliff’s sickly and selfish son (Nick Vidal) and the degraded Hareton Earnshaw (Christopher Chmelik), here turned into a kind of cringing Gollum.

The deteriorating Hindley Earnshaw (John Henry Roberts), Cathy’s mean and profligate brother, and Healthcliff’s unfortunate wife (Sarah Goeden) get short shrift. The comparison between Earnshaw’s decline at the death of his beloved wife and Heathcliff’s reaction to Cathy’s marriage and subsequent demise is all but buried.

For all their scenes together, we never really see the sensual attraction that so haunts Heathcliff that he spends his life plotting revenge over his lost love, or Cathy to say that Heathcliff is her self. (Which, of course, makes it OK for her to marry another guy.)

WutheringHeights2Calvit juxtaposes the two generations fairly well, but she introduces each character in such a way that audiences are never left in any suspense about what’s going to happen and who’s going wind up with whom. So she tells us that Cathy marries Linton, not Heathcliff, and that her daughter ends up with Hareton well before the scenes that show us. Perhaps Calvit assumed that no one would go to see this play who wasn’t familiar with the novel. She might be right.

Certainly, no one who isn’t already a fan of the Brontë will become one as a result of this very screechy play, in which the characters are constantly yelling at one another. (To be fair, some of that is straight out of Emily Brontë melodrama — but it’s not comfortable to hear.)

Stylized. dancelike sequences add nothing to our understanding of the story and only take up time and slow the action. So much of the script and Elise Kauzlaric direction get in the way, that it’s hard to tell whether the cast does a good job or not.

Alan Donahue’s platform set captures little of the vastness of the Yorkshire moors and the up and down slide of the window and door become tiresome quickly.

If you’re an avid fan of the novel, you might want to see this. If not, skip it.

   
   
Rating: ★½
  
  

Continue reading

REVIEW: Red Noses (Strawdog Theatre)

Laughing in the face nose of the Black Plague

 

Strawdog Theatre Red Noses Remount 2

   
Strawdog Theatre presents
  
RED NOSES
   
Written by Peter Barnes
Directed by Matt Hawkins
at Strawdog Theatre, 3829 N. Broadway (map)
through August 15th |  tickets: $15-$20  |  more info

reviewed by Katy Walsh

Strawdog Theatre Red Noses Remount 1 ‘It’s easy to find someone to share your life with. What about someone to share your death?’  Serious contemplations about the fragility of life get a laugh with the addition of a clown prosthetic.  Strawdog Theatre presents the remount of its successful 2009 production RED NOSES.  14th Century Europe is being plagued with death.  The dying is reaching epidemic proportions.  The survivors are targets for flagellant crazed religious types and victim-hunting scavengers.  From this hopeless void, a joyful priest recruits individuals to fight death with humor.  He forms a traveling troupe of performers to ‘ripple and spread’ amusement across the grieving countryside.   Strawdog’s RED NOSES explores the humorous side of the Black Plague by adding a clown-car-filled cast, jamming it to eighties music and letting death urinate on the wall.

The show starts playfully with a game of toss.  Death arrives with a neon yellow ball. The game becomes deadly.  Victims spew out neon yellow barf.  Game over!  The dying has begun.   Death doesn’t keep anyone down for long.  Zombies rise, dance and sing “Only the Good Die Young.” 

Under the direction of Matt Hawkins, the twenty-three cast members are lively, moving from scene to scene and role to role.  They juggle balls, play instruments, and remove spittle as a tight working ensemble.   It’s all about finding the comedic moment and putting a red nose on it.  Shannon Hoag (Marguerite) is hilarious as the disappointed almost-raped nun.  She belts out a wonderful rendition of “I don’t want to lose your love tonight.”  Sarah Goeden (Bells) and Chelsea Paice (Tricycle Clown Messenger) without a word effectively amuse and communicate with ringing and expressive faces.  Michael E. Smith (Pope) delivers a humorous line and attitude with ‘I don’t have to be wise just decisive.’  It’s the small touches that change dire to funny.  Two amputees do a stub version of a high five.  A blind man calls out a color.  
Death gets his cloak caught in his suitcase.  Cause of death?  Talented cast injects shots of fatal humor.  

Strawdog Theatre Red Noses Remount 3 

‘If there is life after death, why do we have to die?’ Playwright Peter Barnes penned a tale about laughing in the face of death.  To exploit the absurd, he set it in a plague killing era and added clown noses.  The script could go “Patch Adams” cute as one man’s quest to bring joy to the infirmed.  Strawdog wisely chooses a “Monty Python” approach with comedy influenced by pushing the funny aspect of sensitive content.  Barnes’ play has a propensity to go long and tedious with some productions exceeding a three hour running time.  Even with Mike Przygoda (Music Director) orchestrating the 80’s flashback with a high-energy, live soundtrack, the second act gets a little tiresome with death-defying religious undercurrents. Still, “You gotta have faith!” Strawdog’s RED NOSES is plagued with comedy for whatever ails you! 

 

   
   
Rating: ★★★
  
  

Strawdog Theatre Red Noses Remount 4

Running Time:  Two hours and twenty minutes includes a fifteen minute intermission

  
   

Continue reading