Review: Accidental Death of an Anarchist (Signal Ensemble)

     
     

A powerful, manic waltz with unctuous tyranny

     
     

Joseph Stearns, Elizabeth Bagby, Vincent Lonergan, Signal Ensemble Theatre, Accidental Death of an Anarchist, Dario Fo, Anthony Ingram, Johnny Knight

   
Signal Ensemble Theatre presents
   
Accidental Death of an Anarchist
   
Written by Dario Fo
Directed by
Anthony Ingram
at Signal Theatre, 1802 W. Berenice
(map)
through March 19  |  tickets: $20  |  more info

Reviewed by Paige Listerud

There’s a moment during Signal Ensemble’s production of Dario Fo’s Accidental Death of an Anarchist when the Madman (Joseph Stearns) asks the Commissioner (Eric Paskey), “Weren’t you the warden of that secret prison who did secret things to secret people?” Would that the question didn’t conjure up images of Gitmo, Bagram Airfield and CIA planes transporting black-hooded terrorist suspects to black sites all around the world, yet it does. It’s impossible to complacently relinquish Fo’s brilliant farce to corrupt 1970’s Italy–and that is precisely the point. That world is too much with us. Under Anthony Ingram’s direction, if Signal’s well-oiled and indefatigable cast demonstrates anything, it’s how Fo peels back layer upon layer of mendacious civilization until nothing is left but raw, exposed, abusive power desperately trying to justify itself.

Chris Walsh, Joseph Stearns, Elizabeth Bagby, Vincent Lonergan, Signal Ensemble Theatre, Anthony Ingram, Johnny Knight, Accidental Death of an AnarchistSince chicanery is the order of the day, why have a protagonist that takes any of it seriously but can deal out sophistry as fast and loose as his foes? As the Madman, hauled into the precinct for dozens of illegal impersonations, Stearns conveys Fo’s rage against the machine with urgent and fierce flippancy. Stearns plays Bugs Bunny to Inspector Bertozzo’s (Vincent Lonergan) Elmer Fudd, while, as Officers 1 and 2, respectively, Elizabeth Bagby and Christopher M. Walsh make their greatest comic impact just standing around munching donuts. After bamboozling Bertozzo into releasing him, the Madman discovers that a judge from Rome will arrive shortly to re-open the investigation into police misconduct over the suicide, er, accidental death, of an anarchist in their custody.

Fo’s play is based upon a true incident of police abuse that took place in Italy in 1969 and audiences would do well to refer to the excellent dramaturgical background on the incident posted in Signal’s lobby. A three-year investigation into the incident revealed layer upon layer of deep and disturbing corruption, with links to fascist elements supported by the government. It’s a tribute, not only to Fo’s work, but also to the fast and bold, controlled frenzy of the cast that such heavy and onerous themes never drag or lose their farcical edge.

The shining comic triad of the evening lines up between Madman, the Commissioner and the Sporty Inspector (Anthony Tournis). The Madman impersonates the Roman judge and pulls one version of the incident after another from men desperate to save their careers—“You guys ought to be novelists!” Ah, but novelists rarely get to sport aviator sunglasses to make people respect their authori-tay or engage in inspired near-death acrobatics at the window. Stearns, Paskey and Tournis take the play’s slapstick to the limit and one might easily order their arrest for having too much fun with their parts.

It’s kidding in deadly earnest. Layered into the performances is a thread of ironic camaraderie between the police and their anarchist prey. Again and again, Fo hints at their cheek-by-jowl relationship. Far from being violent rebels, anarchists “enjoy their creature comforts,” and are petite bourgeois. Whereas the police, as spies, make up the majority of anarchist cells and know all the words for a rousing chorus of “The Whole World is My Homeland.”

        
Anarchist #6 Anarchist #7 Eric Pasky, Simone Roos, Signal Ensemble Theatre, Anthony Ingram, Johnny Knight, Accidental Death of an Anarchist

Signal Ensemble shines best when it depicts their bad romance. Act 2, with the introduction of the Reporter (Simone Roos), doesn’t have the same punch as the first. The second act is supposed to drive the comedy into train wreck territory and Stearn’s costumes are a hoot, but his performance comes close to being dangerously preachy. It’s also at risk of being lost for the jumble of slapstick happening toward the back of Signal’s small stage. If only Ingram’s direction could clean up the sightlines a little more. Nevertheless, overall, Accidental Death of an Anarchist is one to see. Signal Ensemble’s production is a powerful, manic waltz through the life-lies Western culture depends upon—necessary medicine, with a ton of farcical sugar to help it all go down.

  
  
Rating: ★★★½
  
  
Christopher M. Walsh, Joseph Sterns, Anthony Tournis, Elizabeth Bagby, Anthony Ingram, Johnny Knight, Accidental Death of an Anarchist. Joseph Stearns, Signal Ensemble, Dario Fo, Anthony Ingram, Johnny Knight

Accidental Death of an Anarchist runs Thursdays, Fridays and Saturdays at 8 p.m., and Sundays at 3 p.m., through March 19, at the Signal Ensemble Theatre, 1802 West Berenice Ave. in Chicago. Tickets/info at 773-347-1350; www.signalensemble.com.

All photo by Johnny Knight.

     
     

Continue reading

REVIEW: Aftermath (Signal Ensemble Theatre)

  
  

The battle for the soul of Rock ‘n’ Roll

  
  

(left to right) George (Andrew Yearick) introduces Brian (Aaron Snook) to the sitar, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath,” written and directed by co-artistic director Ronan Marra.  Photo by Johnny Knight.

  
Signal Ensemble Theatre presents
  
Aftermath
  
Written/Directed by Ronan Marra
at
Signal Ensemble Theatre, 1802 W. Berenice (map)
through Jan 23  |  tickets: $20  |  more info

Reviewed by Paige Listerud

Coming late to the Aftermath party, I wanted to see how well the production has held up since switching to Signal Ensemble’s own theater space. Extremely well, it would seem, from the sold-out crowds. Chicagoans are undeniably enjoying playwright and director Ronan Marra’s musical bio and tribute to Brian Jones, the eclectic 60s rock genius and tragic founder of The Rolling Stones.

Mick (Nick Vidal) sings while Brian (Aaron Snook) plays the sitar, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath,” written and directed by co-artistic director Ronan Marra. Photo by Johnny KnightClearly, critical kibitzing may mean nothing, now that Signal’s production has rolled along just fine, both reawakening Boomer nostalgia and exposing a younger generation to the Stones with a laudable facsimile of the original band’s performances. In fact, Marra’s requirement for musical proficiency in his cast stands at the throbbing heart of Signal’s production. Much as Aaron Snook charismatically captivates the audience, intrepidly holding attention under a fabulous mop top of blonde hair, he also pulls his weight hinting at Brian’s natural facility with multiple instruments by playing dulcimer, sitar and electric guitar. The music is the thing. The band’s excellence is the show’s mainstay. Once Mark J. Hurni’s dramatic lighting comes up on “Paint it, Black,” you know that this train is stopping for no one.

Except for one small, perceivable flaw—as Mick Jagger, Nick Vidal’s voice achieves a suitably approximate timbre but is almost drowned out by the force of the band. At least at my Sunday matinee viewing, seated in the front row, most song lyrics were indiscernible. Only during “Lady Jane” does Vidal hold his own, volume-wise. That’s too bad, especially since every other aspect of Vidal’s portrayal is electrifying. He has captured Mick’s strut, the liquid energy that made Jagger a consummate showman and indisputable sex idol. When acting, Vidal has Jagger’s snarky insouciance down pat, but behind the mic his voice pales. Joseph Stearns also doesn’t make for a thoroughly realistic Keith Richards—but the pressure isn’t on him as it is Vidal. He’s not the front man.

Dramatically, Marra’s writing also is lacking. His jukebox musical has an excellent sense of structure, with each number placed to move the action and characters forward; the boilerplate dialogue and predictable storytelling, however, may as well have come from MTV’s “Behind the Music.” Marra wants a balanced reflection on Brian Jones’ life and forgotten contributions to the Rolling Stones’ aesthetic. Yet, he simply hasn’t taken risks to plumb the depths of his troubled but fascinating rock idol. Instead, the audience is lead through a pageant of Brian’s struggles—his battles with Mick for artistic leadership of the Stones, his musical giftedness, his affair with model Anita Pallenberg (Simone Roos) and his downward spiral into paranoia and drug dependency.

     
(left to right) Brian (Aaron Snook) and Mick (Nick Vidal) perform a song, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath”. Photo by Johnny Knight (left to right) Bill (Nathan Drackett) and Charlie (Bries Vannon) laugh at the rest of the band during an interview, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath”.

In Snook, the show has an actor whose performance gives more ballast to Marra’s two-dimensional writing, but even he cannot redeem the material from its well-worn clichés. Once Brian suspects Anita in an affair with Keith, he and Roos together carry out especially visceral performances, but most of the rest of the action is a predictable dance of rock star dissolution that skirts the edges of both Jones’ genius and his darker side. We leave knowing no more about what made Brian Jones tick than before.

Plus, for hardcore rock aficionados, Marra’s work is just as much an act of forgetting as it is a loving tribute to the fallen Rolling Stone. Significant figures in Brian Jones’ life get tossed wholesale from Aftermath’s storyline. Instrumental to Jones’ ouster from the band was the arrival of Andrew Loog Oldham, who eventually took over most of Jones’ managerial duties and pushed for Jagger/Richards’ songwriting in the name of sustained financial success. Without Oldham’s presence or mention in the drama, Mick Jagger comes across as the principal villain behind Brian getting sacked from the group.

Brian (Aaron Snook) tells his story to the audience, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath” What’s more, significant musical creations get lost in Marra’s truncated retelling. At one point Marra has Brian Jones bring up “Their Satanic Majesties Request”, only to toss it off as just a forgettable, sub-par Stones’ album. Actually, the album was the Stones’ brief venture into psychedelic rock, which reached its apex in 1967. This was the direction in which Jones, with all his world music influences, was going. But its production, broken up by court appearances and random showings by band members and their friends, proved to be a monster to complete. Once produced, it looked like a cheap knock off compared to the Beatles’ wildly successful “Sgt. Pepper’s Lonely Hearts Club Band,” which had beaten the Stones to release by six months.

“Their Satanic Majesties Request” was Jones’ last hoorah in terms of his musical influence on the band. According to Richie Unterberger of Allmusic, the album “. . . incorporated African rhythms, Mellotrons, and full orchestration. Never before or since did the Stones take so many chances in the studio. In 1968, the Stones would go back to the basics, and never wander down these paths again . . .” A 1998 bootleg box set of the outtakes of the Satanic sessions reveals Jones in fruitful collaboration with Keith Richards and session pianist Nicky Hopkins, creating the album’s eerie soundscapes. But psychedelic rock was soon to fade as quickly as it had blossomed and Brian was going with it.

Obviously not everything about the Jones’ life can be mentioned, but certainly these milestones deserve more than a glossing. In the end, however, Aftermath remains an enjoyable evening of nostalgic entertainment.

  
  
Rating: ★★½
    
   

Brian (Aaron Snook, left) talks to a reporter (Vincent Lonergan, center) while Mick (Nick Vidal, right) listens, in Signal Ensemble Theatre’s world premiere of the drama with music “Aftermath".

   
  

Continue reading

REVIEW: The Real Inspector Hound (Signal Ensemble)

Hammed-up Stoppard fails to find the laughs

 

(left to right) Moon (Philip Winston) and Birdboot (Jon Steinhagen) comment on the play while Cynthia (Meredith Bell Alvarez) and Inspector Hound (Joseph Stearns) act in the play, in Tom Stoppard’s 1968 satire “The Real Inspector Hound,” Signal Ensemble Theatre’s inaugural production in their own venue - running through September 18.

        
Signal Ensemble Theatre presents
    
The Real Inspector Hound
      
By Tom Stoppard
Directed by Ronan Marra
Signal Ensemble Theatre, 1802 W. Berenice (map)
Through Sept. 18  | 
Tickets: $15–20  |  more info

Reviewed by Leah A. Zeldes

From the time the house opens on Signal Ensemble Theatre’s The Real Inspector Hound, to the close of the play, Charles Schoenherr lies unmoving on stage while the other characters cavort around him, never noticing this still figure at stage rear until nearly the end of the one-act comedy.

It just might be the best performance of the play.

Any theater reviewer who takes aim at Tom Stoppard‘s 1968 comedy risks being classified with Birdboot and Moon, the two pompous critics on whom the play focuses. Stoppard, once a critic himself, mercilessly skewers theater writers, painting them as arrogant, self-absorbed and none too ethical.

The critics comment on the play within a play taking place in front of them in highly affected terms, chat through the action, munch chocolates and begin to write their reviews mid-play. Birdboot (Jon Steinhagen), a married, middle-aged philanderer, flaunts his position to entice pretty actresses while piously proclaiming he does no such thing, while Moon (Philip Winston), his paper’s no. 2 critic, continually laments his second-string status. The two put in some comic turns, but they aren’t enough to overcome the broad strokes with which Director Ronan Marra paints the rest of the show.

The meta-play, an exaggerated English country-house mystery, a la The Mousetrap, takes places in what Mary O’Dowd as Mrs. Drudge, the creepy, scenery-chewing housekeeper, tells us is the "drawing room of Lady Muldoon’s country residence one morning in early spring." Scenic Designer Melania Lancy has created a fine drawing-room set in Signal’s spiffy new theater, the former home of now Los Angeles-based Breadline Theatre Group, a 50-seat venue in Chicago’s North Center neighborhood.

(left to right) Cynthia (Meredith Bell Alvarez) listens to Mrs. Drudge's (Mary O'Dowd) story about the new visitor, in Tom Stoppard’s 1968 satire “The Real Inspector Hound,” Signal Ensemble Theatre’s inaugural production in their own venue. Photo by Johnny Knight

(left to right) Cynthia (Meredith Bell Alvarez) flirts with Inspector Hound (Joseph Stearns) while Mrs. Drudge (Mary O'Dowd) takes notice, in Tom Stoppard’s 1968 satire “The Real Inspector Hound,” Signal Ensemble Theatre’s inaugural production in their own venue. Photo by Johnny Knight (left to right) Mrs. Drudge (Mary O'Dowd), Inspector Hound (Joseph Stearns), and Cynthia (Meredith Bell Alvarez) react to a loud noise outside of the house, in Tom Stoppard’s 1968 satire “The Real Inspector Hound,” Signal Ensemble Theatre’s inaugural production in their own venue.  Photo by Johnny Knight

Wealthy widow Lady Cynthia Muldoon (Meredith Bell Alvarez), is entertaining her lover, Simon Gascoyne (John Blick) and — to his embarrassment — Felicity Cunningham (Katie Genualdi), the ingenue he’s also been seeing. Added to the menage is the wheelchair-bound Major Magnus Muldoon (Colby Sellers), half-brother to Lady Cynthia’s late husband, who lusts after his hostess. Meanwhile, the radio announces that a murderous madman is loose in the neighborhood and Inspector Hound (Joseph Stearns), a dog of a police detective, arrives on the scene.

As the play becomes more existential, the critics break through the fourth wall and get drawn into the action on stage. In this production, comic business is piled so high that the parody becomes a parody of itself, laden with overdrawn gestures and pointless shtick, such as when characters continually lift a telephone receiver for no apparent reason. It doesn’t help that the pace crawls.

Through it all, Schoenherr lies, still and untwitching. That’s acting.

   
  
Review: ★½
  
  

Note: Allow time for finding street parking, as well as extra time for traveling to the theater on nights when the Cubs play at home.

 (L to R) Birdboot (Jon Steinhagen) and Moon (Philip Winston) write their reviews of the play during the play, Signal Ensemble Theatre’s inaugural production in their new venue   Photo by Johnny Knight. (L to R) Birdboot (Jon Steinhagen) and Moon (Philip Winston) write their reviews of the play during the play, Signal Ensemble Theatre’s inaugural production in their new venue   Photo by Johnny Knight.

        
        

Continue reading

REVIEW: Aftermath (Signal Ensemble Theatre)

Life of Brian – a rolling visionary

 

Aftermath 2 Aftermath 5Aftermath 1  
  
Signal Ensemble Theatre presents
 
Aftermath
 
Written and directed by Ronan Marra
at Raven Theatre, West Stage, 6157 N. Clark  (map)
through June 6th  |  tickets: $20  |  more info

reviewed by K.D. Hopkins

I can’t hear the name Rolling Stones without the sound of “Jumping Jack Flash” appearing in my head. I can clearly see the Stones on Ed Sullivan – menacing and Aftermath 5kind of nasty in a sexy bad boy way. The tabloid stories and biographies ‘as told to’ are plentiful with the legendary musicians looking into the camera or artfully demurring. The Signal Ensemble Theatre’s production of Aftermath peers into the unsung genius of Brian Jones.

Writer/director Ronan Marra discovered Brian Jones’ story as a teenager and developed this play as a balanced and loving homage. Nick Vidal as Mick Jagger infuses a frisky and explosive energy into the performance. He slightly resembles Jagger and has a decent voice. Vidal veers into the operatic when singing “Lady Jane,” which threw me off a bit. Marra’s Jagger is an ego driven and preening icon. The reenactments of group interviews come off as both funny and painful to see how Jagger downplayed Jones’ contributions to music. He made himself and Keith Richards the centerpieces instead of acknowledging collaboration as a group.

Aaron Snook plays the role of Brian Jones. Snook speaks directly to the audience post mortem. He plays the drug-addled and mentally ill Jones with a childlike quality. Snook imparts a sympathetic edge that tempered the violence and tantrums for which Jones is remembered. Marra’s direction has Jones literally fading away, the lights making his blonde hair and pale skin even more so.

Comic relief comes in the form of Joseph Stearns and Bries Vannon as Keith Richards and Charlie Watts respectively. Richards’ drug use still leaves people wondering how he is alive. Stearns does a great imitation of Richards and plays the stoner beautifully. In a television interview, Jagger is seen doing most of the talking with the host but the focus is on Richards’ interaction with the host’s sidekick played by Phillip Winston. The best line of the night went to Stearns as well. (I’m thinking of Aftermath 1 getting “whiskey stealing interrogation banshee” put on a tee shirt). Vannon’s depiction of reticent drummer Charlie Watts is excellent in spite of no real physical resemblance. Vannon infuses the role with a dry and sweet manner. The running joke is that Watts always threatened to quit the band but never did.

Ensemble member Simone Roos ably plays the role of rock chick Anita Pallenberg. It has only been a recent occurrence that the women passed around by the bands have been telling their sides of the stories. To Marra’s credit, he writes Pallenberg as more than a groupie. The scenes between Roos and Snook are violent and painful as Jones’ paranoia and insecurity increase from the drugs and fear of abandonment.

Andrew Yearick, in the role of George Harrison, is a nice surprise. He recently appeared in The House of Yes at The Artistic Home Studio (our review ★★★). Yearick portrays a mellow and spiritual Harrison around the time of his exploration into Indian music. He and Snook share a duet on “Norwegian Wood,” self accompanied by guitar and sitar. Harrison is introducing the sitar to Jones as something that is tuned into the player and then they rush through the song, a pacing that is much too fast.

It is to be noted that this talented group of actors actually play the instruments and do a stellar job of it. You’ll no doubt find yourself grooving to the irresistible beats and riffs. On the night that I went, It was pretty evident that most of us were Stones fans.

The theatre is decorated with reenactments of classic Rolling Stones 45 and album covers. The stage is flanked by vertical rows of vinyl records in both sizes and set up for a concert. This is an appropriate choice since it really comes down to the music after an exploration of the legend. Aftermath is a poignant remembrance of Brian Jones and of a time when the world seemed much bigger.

 

  
  
Rating:  ★★★
  
  

Aftermath runs through June 6th, 2010. Thursday, Friday, and Saturdays at 8:30pm, Sundays at 3:30pm. (May 24th performance is at 7:30 pm) Tickets are available at www.signalensemble.com or call 773-347-1350. Be prepared to rock!

 

Continue reading

REVIEW: Mrs. Caliban (Lifeline Theatre)

Forbidden love and the rebirth of spirit

 MrsCaliban2_web 

Lifeline Theatre presents:

Mrs. Caliban

Based on the novel by Rachel Ingalls
Adapted for the stage by Frances Limoncelli
directed by Ann Boyd
through March 28th (more info)

reviewed by K.D. Hopkins

Magical Realism, the melding of fable with cold hard reality, is a term not often heard in mainstream American culture. Fortunately. we find magical realism beautifully rendered in Lifeline Theatre new production of Mrs. Caliban.

MrsCaliban1_web As the play opens, the Calibans go through a stultifying ritual of getting on with the day. Fred communicates with wife Dorothy by checklist. There are no loving words or affectionate pecks on the cheek. Fred can barely look Dorothy in the eye as he stumbles over the worn excuse for those working late –  “I’ll call” – before walking out the door. Dorothy seems to inhale the indifference as she closes the door and forges ahead with her household tasks, habitually turning on the radio; losing herself in the world of music, news and the American “fables” called commercials.

A chirpy announcer is heard extolling the virtues of dishwashing liquid and reasoning that a hot TV dinner can corral a straying husband. Dorothy loses herself in the music and mocks the commercials with interpretive dance. (Brenda Barrie , playing the role of Dorothy, is an ethereal delight to watch – exuding a sprite-like joy and wonder in the character.) Dorothy has lost most of the joy in her waking life and her surroundings are stark and white. Matching the minimalistic set-design, she dresses in varying hues of beige – literally fading into the background. Mrs. Caliban’s only human contact involves forays to the supermarket and coffee with her friend Estelle.

Estelle is literally a siren in red, played by Jenifer Tyler. A divorcee who extols the joys of promiscuity and drinking too much coffee, Tyler gives an edgy performance as a woman who tries to make her fantasies come true through promiscuity and betrayal. What could easily have been a scenery-chewing role, the character of Estelle – as honed by Ms. Tyler – is instead shaded with beauty and vulnerability. Her actions are reprehensible but grounded in insecurity and wanting to be loved.

But this life of ritual and fantasy is starkly interrupted by the appearance of an escaped monster. With menacing tones, the media calls the monster Aquarius Man; warning that he dismembers his victims. The monster appears in Dorothy’s kitchen while she prepares a meal for Fred and his business client. He is a hulking creature played with a man-child flourish by Peter Greenburg. He takes in the scenery and the character of Dorothy with animal senses. Greenburg projects the feeling that all of his senses are heightened, absorbing and then becoming his surroundings as he takes everything in with astonished wonder. The monster’s chemistry with Dorothy is instant and believable.

MrsCaliban1 LR MrsCaliban2 LR

There is a lovely comic rapport established between Dorothy and Aquarius Man. She feeds him vegetables and discovers that his name is Larry. The monster speaks tentatively, literally a foreigner learning a new language. Greenberg uses this technique to such skill that it adds hilarity when he tells Dorothy his real name or when he recoils from alleged vegetarian cornflakes and prefers the taste of the box.

Aquarius Man Larry is the antithesis of husband Fred, played by Dan Granata. Fred has become accustomed to ignoring his wife as anything other than someone to go over the checklist as he exits the house. He has long exited her heart or had any intimacy with Dorothy. Mr. Granata imbues his performance with sadness and guilt. Fred is a philanderer and doesn’t have the capability to connect with anything or anyone. Dorothy knows that Fred is cheating but begins to not to care as her relationship with Larry becomes intimate and then erotic. She listens to him and asks about the world of which he longs to return. He listens to her about the loss of her children and then her marriage.

There is a surprising erotic intensity between Larry and Dorothy. The erotic history of the monster and the damsel in distress goes far back in theatre and literature. Dracula and Mina Harker, Quasimodo and Esmerelda, or the Wolf Man and the Gypsy Girl are but a few examples (not to mention pop culture’s “Beauty and the Beast” or “Shrek”). Larry and Dorothy never actually kiss but rather consume each other through their senses of touch and smell. She caresses his odd green skin and seems to become consumed by the tactile sensation.

MrsCaliban3_web

This is so much more than a story of interspecies mating. It is a fable of redemption, fate, acceptance, and forgiveness by becoming of love more than in love. Larry is brutally honest with Dorothy about his life and his origins. When he commits what is considered a horrific crime in self-defense, Dorothy is called upon to face her perception of wrong and right. Is it harder to defend Larry because she knows one of the alleged victims? Will she still stand by him and help him get to his native home?These wonderful actors make the questions more than simple romantic flights of fancy.

Special attention must be given to Monica Dionysiou who plays three supporting roles as Estelle’s out of control adolescent daughter Sandra, a pushy saleswoman, and is scary funny as the Supermarket Cheese Majorette. It is a surreal experience that will make you look askance at the sample lady at the market.

Mrs. Caliban” is adapted by Frances Limoncelli from the novel by Rachel Ingalls and directed by Ann Boyd. Ms. Boyd does an exemplary job of bringing archetype and fable into the realm of reality, creating a production void of flat moments or missed beats,.

Brandon Wardell’s lighting add beauty to the action, creating a chiaroscuro effect that enhance the actors without the use of physical props. The silhouette of Larry as he feeds from the energy of the sea was touching and more so when Dorothy becomes one with the sea as well.

“Mrs. Caliban” is an ensemble piece at its best. It is a great theatre experience that leaves the viewer with many things to ponder. I was left wondering about my own fears and presumptions about other beings. Also, it’s a sly and funny indictment of our advertisement-drenched sensibilities. It’s possible that we have all had moments when the box would have tasted better than the contents but let ourselves be deluded into what is supposed to be good or look good by 30 second blurbs.

Take 90 minutes and get a better look at the Lifeline Theatre’s highly-recommended production.

Rating: ★★★★

“Mrs. Caliban” is at the Lifeline Theatre, 6912 N. Glenwood Ave. It is accessible by CTA and there is ample parking at the NE corner of Morse and Ravenswood with free shuttle service before and after the show. The play runs Thursdays and Fridays at 7:30PM, Saturdays at 4:00 and 8:00PM, and Sundays at 4:00PM, through March 28th. Contact Lifeline at 773-761-4477 or www.lifelinetheatre.com

Continue reading