By Mark Schultz

Directed by James Palmer

At Red tape Theatre, Chicago

“Honey,” he says, “I think we should sell the kids.” – Brian

Implausible comedy of horror shifts tone so often it implodes

Playwright Mark Schulz begins his weird horror comedy with:  “I got an idea,” Brian (Mike Tepeli) says to wife Stacey (Meghan Reardon). “Don’t laugh. We are a little stressed — the money, the kids. I think we should sell the kids.” After a long repetitive coaxing, Stacey agrees; enter Marco (Nicholas Combs) Brian’s co-worker who has connections with a rich barren couple in Albania. After charming Stacey, Marco succeeds in giving the couple a reinvigorated net start in life. I never bought the premise for a moment. As Marco explains:  he is not exactly selling the children; rather, he’s “brokering an offspring exchange.”

This preposterous play finds Brian accepting Marco’s help with job promotions, membership in “the Club’ and a spiffy new condo. Marco will do anything Brian and eventually he gets Brian to have sex with him. Ha?

We then see Stacey smoothly up-selling a Caribbean cruse to a customer. Playwright Schulz pushes the “Everything has  price” theme further and further stretching the show’s credulity into the stratosphere.  The story get darker as it depicts Stacey’s guilt and Brian’s psychological dependency on Marco until the couple start fighting.

The show tries to make up for the insane  storyline with 5 little girls singing several broodingly dark songs and vivid video backdrops. But nothing can save this preposterous premise.  Self destruction, guilt, and a clueless husband plow through the show until the darkness prevails. We leave the theatre wondering why anyone would produce such a play? It isn’t funny enough nor cathodic enough as a parable; it is simply an unbelievable work unconvincingly acted by Tepeli and Reardon  as Brian and Stacey. The inconsistent tone didn’t help.

Not Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: February 9, 2012

For more info checkout The Gingerbread House page on theatreinchicago.com

Music by Green Day

Lyrics by Billie Joe Armstrong

Book by Billie Joe Armstrong

& Micheal Mayer

Choreographer Steven Hoggett

Directed by Michael Mayer

Music Director Jared Stein

Produced by Broadway in Chicago

At the Oriental Theatre, Chicago

Noisy and unintelligible punk rock musical is really a rock concert

I must do my homework before seeing another punk rock infused musical. The deafing sound was so loud that I was worried that my pacemaker might go off! I guess  punk rock necessitates that the volume be set into the stratosphere? Add the slurred Broadway pop singing style and I could only understand a word here and there. Was there a story?

The press notes claim that American Idiot is a book musical:  “three lifelong friends Johnny (Van Hughes), Will (Jake Epstein), and Tunny (Scott J. Campbell) are forced to choose between their dreams and suburban life on their quest for true meaning. The three friends have the opportunity to leave their current world and move to the big city to follow their dreams. However, the unexpected keeps one at home while the other two move away. Johnny and Tunny then go their separate ways. Tunny joins the military and Johnny, he gets caught up in the fast lane.”

I guess? Since I couldn’t understand the lyrics, I had no idea what was going on except for one continuous punk rock tune after another so loud that I couldn’t hear myself think!

I am perplexed as to the merit of such a manic, unintelligible crude show about three losers who spent their time doing drugs, have sex and hanging around. I must say that many older theatre people continuously left the one-act as the lack of a story and high volume forced their departure.  I think the billing of American Idiot as a book musical (it ran only 422 performances on Broadway) is somewhat deceiving since it is so difficult to follow. Volume and slurred lyrics add to the lack of comprehension for many. My guest, who loves the Green Day band, found the lack of understandable story and the high octane sound a major problem that diluted from his enjoyment of the show. So, who is the audience for American Idiot? Lovers of punk rock and Green Day? If so, why not promote American Idiot as a punk rock concert? That way, us lovers of traditional book musicals will not have to suffer through 90 minutes of theatre hell. It is more than 3 hours after attending American Idiot and I still can’t stop that ringing in my ears.  So, don’t expect more than a ear-shattering punk rock musical with crude, foul-mouthed players with limited vocal chops. The high energy and wild dances and the strobe lighting will get you groggy with deafness to follow.

The young punk rockers will feast on the Green Day tunes and the old-timers will cringe and vacate the show. Be warned. Next time, I’ll send my younger reviewers to cover this genre.

Somewhat Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: February 7, 2012

Fro more info checkout the American Idiot page on theatreinchicago.com

By Leslye Headland

Directed by Darrell W. Cox

At Profiles Theatre

Too much screaming and crudeness dooms the Bachelorette.

Perhaps the Bachelorette is a ‘girls night out’ as witnessed by the dominant female audience at the Sunday night, February 5,  performance or maybe the Super Bowl kept guys from attending? Perhaps?

Playwright Leslye Headland’s satirical comedy does nothing to make women look any better than all the ‘nasty men’ usually portrayed in Profiles Theatre’s plays. We meet Regan (Hillary Marren), Katie (Linda Augusta Orr), and Gena (Amanda Powell) as they party in the suit of their friend Becky (Rakisha Pollard).   Only Regan, the maid of honor, was allowed to be in the suit but Regan just had to have her drinking/druggie friends Katie and Gena with her.

In a long sequence of screaming, screeching and foul-mouthed dialogue,  coke snorting and champagne drinking scenes, the three dysfunctional women show their crude, raw make up. When they spent time talking about the strategic use of oral sex on men to get an advantage, I was totally turned-off.  These three unhappy and self-destructive losers were painful to watch and their loudness made me want to bolt the theatre. I found nothing empathetic nor interesting about these three. Only a few of the women in the audience laugh at some of the wordage or the physical comic scenes mostly from the drinking or snorting.

By the time Jeff (Adam Soule) and Joe (Eric Burgher) arrive, Jeff to lure Regan into bed and Joe to try to help Katie from her drunken maze, I couldn’t care what happens to the three loser women.  All the noise and gross-out actions of the women made for a long 80 minutes. I can not find any redeeming value to Bachelorette  since we witness actions like  Katie barfing  on the stage among other crude actions. This is a worthless work that seems to appeal to our base crudeness. Profiles  Theatre usually picks better plays.

Not Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: February 5, 2012

At Profiles Theatre, 4147 N. Broadway, Chicago, IL, call 773-549-1815, www.profilestheatre.org, tickets $35 – $40, Thursday & Fridays at 8pm, Saturdays at 5 & 8pm, Sundays at 7 pm, running time is 80 minutes without intermission, through March 11, 2012

By Paul Slade Smith

Directed by Alison C. Vesely

At First Folie Theatre, OakBrook

Wacky, manic and fun farce will produce belly laughs

Written by Paul Slade Smith, a 14 year Chicago actor now on tour with Wicked, Unnecessary Farce finally after 6 years makes its Chicago debut. Under Alison C. Vesely superb casting and tight direction, Unnecessary Farce is a whip-smart comic farce that produces enough laughs to get anyone through winter.

Two inept cops, three crooks, a zany mayor, a hopeless guard, two hotel rooms and eight doors equals a classic facial framework.  Farce:

“In theatre, a farce is a comedy which aims at entertaining the audience by means of unlikely, extravagant, and improbable situations, disguise and mistaken identity, verbal humor of varying degrees of sophistication, which may include word play, and a fast-paced plot whose speed usually increases, culminating in an ending which often involves an elaborate chase scene. Farce is also characterized by physical humor, the use of deliberate absurdity or nonsense, and broadly stylized performances.”

Paul Slade Smith incorporates all the above elements in Unnecessary Farce.  Get ready to laugh your heart out.

Kevin McKillip  (Officer Sheridan0 and Erin Noel Grennan (Officer Dwyer) set up a sting to get a seemingly crocked Mayor (the always funny Dale Benson) when he meets with Karen Brown (Molly Glynn) the city’s account at a motel. The plan is solid unless everything that can does go wrong which, of course, does happen. Using matching a-joining hotel rooms (nice set design by Angela Miller), Unnecessary Farce is filled with perfectly timed door slamming, clothes flying about, back pipes bleating, misidentifications,  and clever plot twists  all in an attempt to arrest a corrupt politician.  This wildly manic comedy features over-the-top action filled with mix-ups and mayhem that gets us laughing throughout. Seldom have I witness such an exquisite, well-executed farce. So  much split-second timing both verbal and physical keeps us silly and riveted.

The ensemble performances are a marvel to witness. McKillip and Grennan are fabulous as the daft cops while Dale Benson steals his scenes as he has for decades on Chicago stages. Molly Glynn is both funny and sexy as the account. Raymond Fox is a hoot as the security man with a heart. Jeannie Affelder effectively delivers a surprise twist that complicates the farce. But the amazing work by Joe Foust as the Scottish hit man Todd gets the loudest laughs of the evening. Foust, ever the master comic, using his physical and impressive verbal skills to give his thick Scottish accent a hilarious turn.

It is impossible for me say much more about the events from Unnecessary Farce but just get out to Mayslake Peabody Estate in Oakbrook to see an impressive and hilarious evening of comic farce. Spend two hours laughing at the absurd antics of seven of the funniest comic players expertly delivering Paul Slade Smith wonderful play. You’ll leave the theatre reinvigorated and thoroughly entertained.  Kudos to First Folio Theatre for snagging Unnecessary Farce.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Jeff Recommended

Date Reviewed: February 4, 2012

Fro more info checkout the Unnecessary Farce page at theatreinchicago.com

At First Folio Theatre, Rt. 31 & Rt 83 at the Mayslake Peabody Estate, Oakbrook, IL, www.firstfolio.org, call 630-986-8067, tickets $30 – $37, Wednesdays, Fridays & Saturdays at 8 pm, Sundays at 3 pm, running time is 2 hours, with intermission, through March 4, 2012

Book  and Lyrics by Hannah Kohl

Based on the book by Brian Selznick

Music by Mark Messing

Produced by Chicago Children’s Theatre

At the Mercury Theatre, Chicago

Cute hour long kid’s show engages audiences

Based on the book by Brian Selznick, The Houdini Box is a children’s musical with music by Mark Messing and book and lyrics by Hannah Kohl. It is the story about a young boy, Victor (Alex Weisman) who is totally enamored with Harry Houdini and his magic tricks. NOTE: this is not the same show as Death and Harry Houdini that The House Theatre of Chicago is now presenting at Chopin Theatre but rather as kid friendly musical.

Victor is always trying Houdini’s tricks that get him to lock himself in closets and chests. They never work and his mother, played with gusto by Sara Sevigny, always get him out.  She gets tired of Victor’s obsession and vivid imagination so she takes him Aunt Harriet’s house. Derek Hasenstab plays the Aunt as well as the vaudevillian ringleader and Houdini himself.

But when a change meeting with Houdini at a train station, Victor’s world changes when Houdini’s  promised letter arrives for Victor. Victor visits Houndini’s home just after Houdini’s death but his widow entrusts a small box from Houdini to Victor. That changes the youth forever.

Through the musical, we see cute puppets moving the action along. Blair Thomas, the show’s director,  is a master at utilizing puppetry along with live actors to tell a story.  We see Victor and his Houdini puppet trying the Water Torture escape using only a water glass and a 6 inch puppet.

Imagination and songs fuel the story. Kohl and Messing’s score was bland and forgettable. A poor sound mix allowed the percussion to dominate. And Alex Weisman’s vocals (despite a most beguiling performance as Victor) were scratchy at best with his voice cracking several times.  Sara Sevigny and Derek Hasenstab nailed their tunes nicely.

The Houdini Box is a fun show for the kids who seemed to enjoy the performance I attended. I’m sure their imaginations were stimulated by Victor’s pursuit of Houdini’s magic.

Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: 2 pm on February 4, 2012

For more info checkout The Houdini Box page on theatreinchicago.com

At the Mercury Theatre, 3745 N. Southport, Chicago, IL, call 773-325-1700, www.chicagochildrenstheatre.org, tickets $18 – $26  fro children up to 18 years old, $28 – $36 for adults, running time is 60 minutes without intermission, performances daytime and afternoons, through March 4, 2012. NOTE: the show moves to the North Shore Center For The performing Arts in Skokie:  March 14-25.

Hesperia by Randall Colburn at Writers' Theatre

Directed by Stuart Carden

At Writers’ Theatre, Glencoe

The clash of religion and sexual desires plays out in small town America

Playwright Randall Colburn’s drama about small town religion’s redemptive powers to ‘save’ two porn stars is a stretch at best.  Inadvertently,  Hesperia (the small town’s name) both mocks and plays homage to the effects of over indulgence in Christian Fundamentalist beliefs. The Writers’ Theatre production is the second mounting of Hesperia.

When Claudia (aka Jessica) (played by Kelly O’ Sullivan) appears as a sweet innocent women  engaged to the youth preacher Trick (Erik Hellman) – possessing a God complex of the first order – we quickly see that she has a seedy past when her ex-lover and porn movie star partner Ian (Nathan Hosner) arrives in Hesperia after  Claudia invited him to her wedding. If Claudia/Jessica wanted to leave her past, why would she invite him to her wedding?

We meet Trick as the bible-quoting self-appointed savior of all who he encounters. Although he appears as sincere in his beliefs, there is a hidden arrogance and  self-delusional element to his make up. When he “forgives” others for their transgressions from Fundamental Christianity, he comes off with a messianic complex. Is he a mensch or a dangerous zealot? As played by Erik Hellman, we are never sure. (Terrific work by the talented Hellman.)

When Ian arrives, Trick welcomes him and allows him to sleep in his garage. Claudia is uneasy with Ian fearing that her past (know only to Trick) will haunt her and make her redemption and upcoming marriage impossible. Ian, subtly played by Nathan Hosner, quickly becomes enamored with the religious atmosphere surrounding Claudia and Trick. Is Ian really interested in being ‘saved’ or is he simply trying to get close to Claudia who he still loves? Hosner hides Ian’s motivation as he appears sincere.

We also meet Aaron, a horny, bible-quoting teen believer more confused that enlightened by his raging hormones. Tyler Ross is perfect as the naive religiously confused teen. When he finds a DVD of Ian and Claudis ‘performing sex,’ Aaron becomes more troubled as his beliefs conflict with his human urges.

While playwright Colburn vividly dramatizes the stilting Christian beliefs including Dasiy’s  (Rebecca Buller) sexual attraction to Ian and Aaron’s confusion, he seems have both Ian and Claudia insincerely using the Christian beliefs more as an escape from their past sins than belief in an all-powering God. The contradictory behavior of Ian is a clue since Ian wants Claudia back, wants to be saved and he wants to have sex with Daisy.

Also Claudia is torn between her past as exemplified bu Ian’s presence and her desire for a secure life with her preacher man.  Trick’s knowledge of Claudia’s past doesn’t hamper him from marrying her. Strangely, on their wedding day, Claudia is ‘turned-off’ my Trick’s sexual advances at first. Why? Trick only wants to show his love and consummate the marriage. Strange.

Colburn’s script still needs clarity and depth of character but it plays as an honest look at rural America in the grips of Christian Fundamentalism. He expresses an original voice to the complex reality of love, sex, and religion. This show features terrific work by Erik Hellman and Nathan Hosner. It sure exposes the warts of Fundamental Christianity. Definitely worth a look.

Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date  Reviewed: February 2, 2012

Jeff Recommended

For more info checkout the Hesperia page on theatreinchicago.com

At Writers’ Theatre, 325  Tudor Ct, Glencoe, IL, call 847-242-6000, www.writerstheatre.org, tickets $45 – $65, Tuesdays at 7:30 pm, Wednesdays at 2 & 7:30 pm,  Thursdays & Fridays at 8 pm, Saturdays at 4 & 8 pm, Sundays at 2 & 6 pm, running time is 90 minutes without an intermission, through March 18, 2012

Co-created and co-directed

by Jessica Thebus

and Frank Maugeri

Adapted by Jessica Thebus

Design by Frank Maugeri

based on the play by Shakespeare

At Chicago Shakespeare Upstairs Theatre, Chicago

Fascinating and most engaging take on Shakespeare’s last play worth seeing

With Jessica Thebus adaptation of The Tempest and her co-direction and co-creation with Redmoon’s Frank Maugeri, the resulting The Feast: an intimate Tempest is a unique art piece utilizing some text with puppets, video, music,  masks,  and a banquet table made in a cross with moving slats. We find Prospero (John Judd), the Duke of Milian using his books and his magic to seek revenge with the aid of his two slaves: Ariel (Samuel Taylor) a passive helper and Caliban (Adrian Danzig) a feisty relunctant aid. When Prospero rings his bell, the reenactment of the storms that send his enemy’s ship wrecked to his island. Prospero manipulates fate to have all aboard reach the island safely.

With Ariel and Caliban deft use of the fabulous live-size masks and the magnificent puppet work by Sarah Addison Ely and Dustin Valenta, the story of The Tempest unfolds. It is Prospero’s feast as he demands an accurate account of the story that contains smattering of Shakespeare’s text nimbly rendered by Judd, Taylor and Danzig. In this vividly dazzling 70 minute one-act, we are constantly surprised by the visuals, the ever-changing table and the charming use of both masks and puppets, even flowers pop-up from the table!

We empathize with Ariel and Caliban as each beg for food and work to escape Prospero’s clutches. The short work fascinates us throughout despite being a tad too hard to follow. Only those quite familiar with The Tempest will be able to follow the text and the action. But no matter, since the basic actions of revenge and treachery enhances Prospero’s depth of power. The Feast is an illuminating and intoxicating evening of theatre. The combination of live performances (Judd, Danzig and Taylor were outstanding) and the props (complex table) with the lighting (by Andrew H. Meyers) and, of course the masks and puppets make for an artful theatrical event. Rich storytelling rivets us. So read The Tempest before you see The Feast – it’ll make your experience more enlightening.

Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: February1, 2012

Jeff Recommended

For more info checkout The Feast page on theatreinchicago.com

At Chicago Shakespeare Upstairs Theatre, Navy Pier, Chicago, IL, call 312-595-5600, www.chicagoshakes.com, tickets $35 – $45, Wednesday thru Saturday at 7:30 pm, Saturday and Sundays at 3pm, running time is 70 minutes without intermission, through March 11, 2012

Time Stand Still

Directed by Austin Pendleton

At the Steppenwolf Upstairs Theatre, Chicago

Life style of risk taking consumes photojournalist

Sally Murphy plays Sarah Goodwin – an adrenaline junky wartime photojournalist who returns to her Brooklyn loft to recover from a near-death bomb blast in Afghanistan.  Furiously independent, she is irritated that her lover and fellow war journalist dotes over her. Her wounds and his emotional breakdown from one too many war horrors forced James (Randall Newsome) to desire to stay in the USA and write puff-pieces.

But Sarah still yearns to go back to war reporting believing that if she documents war’s horrors they’ll be ended. She is taken off guard by James’ desire to settle down and marry. It seems that their friend and editor Richard (Francis Guinan) has found a much younger girl to love. They marry and Mandy (Ktistina Valada-Viare) becomes pregnant.

Mandy and Richard indirectly influence James but Sarah, despite marrying James after nine years, still is determined to go back to war zones. Forced to decide between her love for James and a normal life and her thrill-seeking war photographing that makes “time stand still,” Sarah’s choice to resume living in chaos is plausible and understandable.

I had some problems with playwright Donald Marguiles’ script and Sally Murphy’s bland and too laid-back presentation of Sarah. Surly, an adrenaline junky like Sarah would be pacing about as she itched to get back to the action. Murphy plays Sarah too passive.  I’d like to know more about why Sarah cheated on James and why he accepted her story without rage since his soul mate betrayed him. James took the news quite civilly.  I would also like to know more about James’ meltdown that forced him to leave Sarah in a war zone. This story  plays out as incomplete.  I’d like to understand James and Sarah. More back story is needed for me to empathize with them. Randell Newsome is wonderful as the troubled writer. Kristin Valada-Viars was effective as the light-weight young woman.  This show is mildly interesting. Walt Spangler’s set was impressive.

Somewhat Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 31, 2012

For more info checkout the Time Stands Still page at theatreinchicago.com

At Steppenwolf Theatre, 1650 N. halsted Ave., Chicago, IL call 312-335-1650, www.steppenwolf.org, tickets $20 -$78, Tuesdays thru Sundays at 7:30 pm, Wednesday matinees at 2 pm, Saturday & Sunday matinees at 3pm, running time is 2 hours, 10 minutes with intermission, through May 13, 2012

By Ayad Akhtar

Directed by Kimberly Senior

Produced by ATC and

The Araca Group

At ATC, Chicago

Powerful, well-written drama works on many levels

American Theater Company (ATC) in a special arrangement with The Araca Group presents the world premiere of Disgraced by Ayda Akhtar.  I can’t remember when I’ve witnessed a tighter, succinctly written 80 minutes play than Akhtar has presented. Much is covered on several levels in this powerfully shocking drama.

Islamic culture continues to be a mystery that produces apprehension, mistrust and fear in most Americans since 911. We live an unspoken distrust of anyone from the Muslin culture these days.

In Akhtar’s poignant drama, we see from within how a non-practicing Muslim-American lawyer, Amir Kapoor (Usman Ally) is living the fruits of the American Dream – wonderful high-paying job, wonderful wife, and exquisite condo (set design by Jack Magaw) in Manhattan. Amir is an aggressive corporate attorney who has achieved many of his life-long ambitions. He has it all until he falls victim to professional and personal betrayals. These lead to his betrayal of himself.

In only 80 minutes, playwright Ayad Akhtar tightly weaves  not only a detail characterization of Amir-the power attorney who can afford$600 dress shirts but a man in denial of his cultural  upbringing. Amir is a sophisticated, American born, whose family is from the Asian subcontinent. Except in name, Amir is the poster boy for success in American life.

In an early scene, Amir is visited by his nephew, Abe (Behzad Dabu) who begins Amir to help defend a Muslim cleric from federal anti-terror charges. Amir expounds how he is no longer a practicing Muslim and that he is not a public defender anymore and that the cleric’s problem means nothing to him. But his actions at the court give fuel to his enemies.

Amir’s white American wife, Emily (Lee Stark) is a painter in the Muslim tradition. She tries to move Amir back to his childhood religion. The couple has a dinner engagement with Jory (Alana Arenass) – Amir’s attorney colleague and her husband, Isaac (Bemin Foster)- who runs an art gallery that is going to display Lee’s Muslim-inspired paintings.

During dinner and drinks the four debate and examine the beliefs from the Koran. Amir and Jory attack the militantly violent portions of the Koran while Issac and Lee depend the prayer-book.  Drinks flow and Amir senses problems both at work an in his family life.

Arguments ensue with Issac, then with Jory and ultimately with Lee as Amir’s name, looks, abilities, persona, and beliefs come into question from all sides. His firms distrusts him and his  personal relations  deteriorate leading to betrayals. It seems that Amir is trapped between his identity as a Muslim American  and his personal identity as simply  American. The collusion of these identities are dramatically played out in Disgraced.

Usman Ally’s strong nuanced and highly-charged emotional performance as Amir anchors this wonderful scary work. Disgraced speaks to the unspoken tensions when fear of a group or religion manifests itself in professional and personal relations. We empathize with Amir as he reacts to the actions of those around him. I’ll not say more so not to spoil the plot that will enrage and shock you. Both the writing and the acting blend together to  present a story that needs to be seen. Disgraced is a cautionary tale and an indictment of our latent fears of misunderstood cultures. The play forces us to re-examine our views of Muslim Americans. Theatre allows us to come together to explore such exlposive topics. This is an impressive drama, don’t miss it.

Highly Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 30, 2012

Jeff Recommended

For more info checkout the Disgraced page on  theatreinchicago.com

At ATC, 1909 W. Byron, Chicago, IL, call 773-409-4125, www.atcweb.org, tickets $35 – $40, Thursdays * Fridays at 8 pm, Saturdays at 3 & 8 pm, Sundays at 3 pm, running time is 80 minutes without an intermission, through February 26, 2012

by Craig Higginson

Directed by Joanie Schultz

At Next Theatre, Evanston

Talky one metaphor two-hander wears us out

South African playwright Craig Higginson wants to explore interracial relationships from an international point of view so he has a Black Frenchman get English language lessons from a British white female living in Paris. This situation has promise but Higginson has his two characters bogged down by overuse of corrective English rhetoric  from Celia (Carrie A. Coon) to her pupil Pierre (Austin Talley).

This drama is a talky, slow-paced and an unbelievable contrivance designed more for Higginson to reveal his thought about race than to be a viable relationship drama about two souls searching for their personal identity and their place in the world.  Pierre is motivated by his need to master the English language since that skill will allow him to fit in in French (and the world’s) society.

If we are to believe that there is a subtle sexual attraction why there is no sensual stage chemistry between the stiff and stilted Pierre and the blandly calm Celia?  The endless grammar corrections grows tedious and dilutes from the formation of any emotional or sexual tension. Pierre, we learn, has sort of  stalked Celia after seeing her at a Parisian museum.  But I saw no emotional heat coming from Austin Talley’s Pierre toward Celia.

Add the blandness of Celia who without warning or set-up confesses  her secrets to Pierre.  I never once felt that Celia would be sexually attractive to the passive Pierre. It seems that playwright Higginson wants to show how  two troubled and emotionally damaged folks can find connections despite their racial baggage. But I never for a moment believed these two have any deep connection. Pierre hasn’t the needed bad-boy image that a hip Londoner would be attracted to. The play feels forced and mechanical. The slow pace and the lack of enough dramatic tension made the 90 minute one act plow on as more of a grammar lesson than  a relationship play with something to say.  I got bored since I neither related to nor cared for either character. Next Theatre has mounted an impressive body of work over the years so I’ll forgive this inert work.

Not Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: January 29, 2012

Jeff Recommended

For more info checkout The Girl in the Yellow Dress page at theatreinchicago.com

At Next Theatre at the Noyes Cultural Center, 927 Noyes, Evanston, IL, call 847-475-1875, www.nexttheatre.org, tickets $25 -$40, Thursdays at 7:30 pm, Fridays at 8 pm, Saturdays at4 & 8 pm, Sundays at 2 pm, running time is 90 minutes without intermission, through February 26, 2012