Equity Superlatives for 2K13 (so far)

Growing-up in a time of reality competition TV shows and being an Oscars aficionado, my brain automatically categorizes things into superlatives. As you may know, I am an avid theatregoer so naturally I tend to compare/contrast different productions. In the past six months I’ve seen 30+ productions in Chicago and wanted to take a look back and see what left a lasting impression upon me.

So I originally started listing my Chicago theatre superlatives from the past six months without taking into account Equity status for the shows. I’d originally chosen five in each category, but decided to split it up separate the Equity and non-Equity productions and select only three in each category. Below are my choices in the Equity division (which I see much less of because, oh, you know, ticket prices and such). The * signifies my favorite.

 

BEST PRODUCTION

 

columbinus @ American Theatre Company

 

The Pride @ About Face Theatre

 

The Whale @ Victory Gardens*

While columbinus and The Pride were two of the productions I most eagerly anticipated, The Whale was the surprise knockout. Samuel D. Hunter’s searing dialogue and painfully real characters laid the foundation for an unforgettable production. I am surprised his script wasn’t at least a finalist for the Pulitzer this past year as it dealt with many contemporary American concerns with skill and honesty.

BEST DIRECTION

Bonnie Metzgar (The Pride @ About Face Theatre)*

 

PJ Paparelli (columbinus @ American Theatre Company)

 

Joanie Schultz (The Whale @ Victory Gardens)

The Whale’s hyper reality and columbinus’ docudrama theatricality both showcased their directors within their respective styles. Yet, Metzgar’s stark grip on the 50’s period decorum versus the much more liberated late-2000’s allows The Pride to successfully communicate the different characters and story lines with grace and fluidity.

BEST INDIVIDUAL PERFORMANCE

Patrick Andrews (The Pride @ About Face Theatre)*

 

Adam Poss (Teddy Ferrara @ Goodman Theatre)

 

Sadieh Rifai (Speech & Debate @ American Theatre Company)

In Speech & Debate, Sadieh Rifai easily gave the best comedic performance I’ve seen in Chicago since J. Nicole Brooks’ outstanding firecracker turn in Immediate Family at the Goodman. Adam Poss was perfectly bitchy while simultaneously irresistible in Teddy Ferrara. However, Patrick Andrews’ soulful handling of two emotional roles in The Pride stands out as the best performance of the past six months.

 

BEST ENSEMBLE PERFORMANCE

Beaten @ The Artistic Home

 

columbinus @ American Theater Company

 

Teddy Ferrara @ Goodman Theatre*

Obviously, I appreciate an ensemble that tackles a tricky, dramatic script successfully.  Although the casts of Barnum at Mercury Theatre and Goodman’s The Jungle Book delivered memorable performances, they felt more like individual powerhouses autonomously operating instead of relying on each other.

BEST INDIVIDUAL DESIGN

Mara Blumenfeld (Costume Design for The Jungle Book @ Goodman Theatre)

 

Janice Pytel (Prosthetic Design for The Whale @ Victory Gardens)

 

Mieka van der Ploeg (Costume Design for The Pride @ About Face Theatre)*

Although Thad Hallstein’s sleek set for Profiles’ In the Company of Men and Keith Parham’s appropriately moody lighting in Goodman’s Teddy Ferrara were very impressive alongside the other two recognized designs, no production element stood out quite like van der Ploeg’s costumes which gorgeously aided About Face’s The Pride to slide from two time periods separated by 50 years.

BEST NEW WORK

Beaten (by Scott Woldman @ The Artistic Home)*

With an unpredictable and more believable LaBute-like-surprise, Woldman’s family drama harrows with distressing recognition as effortlessly as it delights with comic levity. The unique character relationships are the foundation for a difficult trek through the cycles of abuse, secrets, and misguided love on which many families build their households.

The Pride

I just finished reading a wonderful play called THE PRIDE by Alexi Kay Campbell (published in 2008) which About Face is producing the Chicago premiere of this summer with some of my favorite actors. In the script, there are two characters that recount mystical experiences in which they hear voices; these two characters are both gay Londoners, share the name Oliver, and are meant to be portrayed by the same actor.

The first Oliver lives in 1958 when homosexuality was considered a mental illness and grotesque lifestyle. While travelling in Greece, Oliver visits Delphi – famously known as the home of the oracle in the Oedipus Trilogy – he has a comforting “epiphany” in which a voice says "everything [is] going to be all right.”  The second Oliver lives in 2008. However, the voice that he hears knows him by name and calls him into sordid situations in which he relapses to his sexual addiction of having anonymous hook-ups. Despite his inability to successfully combat his addiction, he finds hope in the future through human connection and an internal recognition with another person, his boyfriend. In the span of 50 years, the Olivers 50 find acceptance in society and within themselves. The world is changing and “one day, maybe many, many years from now, there will be an understanding of certain things, a deeper understanding of certain aspects of our natures that would make all the difficulties we now feel, all the fears we now hold onto and the sleepless nights we now have seem almost worthwhile… And that the people who live in those times, be it fifty or five hundred years from now will be happy with that understanding and wiser for it. Better.”

I felt a deep connection to this play and especially this more supernatural element. I think whatever force that connected these characters is present in my life as well. I've always believed I would be all right if I took steps towards being true to myself. It wasn't a voice (which is a nice theatrical, magical touch for the play) that spoke to me, but it was my own thoughts and hopes of what could be - not just as a gay man, but as a human being. The fact that these two characters found internal peace and acceptance despite the turmoil comforts me. It makes me believe that I am exactly where I am supposed to be. Also, it’s nice to know that Alexi Kay Campbell recognizes (and beautifully manifests) this feeling I have never been able to fully articulate. It helps me not feel alone – and that gives me hope and peace. 

Film & Theatre Reviews

So I am an entertainment junkie (kind of) and frequent movie theaters and regular theatres. I love to follow the awards season with special interest in the Academy Awards. I like to predict the nominees/winners and name my own superlatives. In preparation for that madness, I write short reviews on movies and plays. Here's a little taste of that:

THEATRE

You can check out my review of 
About Face Theatre's We Three Lizas for Chicago Stage Standard 

on their website: http://chicagostagestyle.com/threelizas.asp. 

FILM

Though not as stuffy as the trailer would make you believe, LINCOLN fails to fully engage and falters to be thoroughly entertaining despite fine performances. Daniel Day-Lewis and Sally Field are strongly paired, but Tommy Lee Jones barely fits in style of the film despite his earnest performance. Tony Kushner’s relevant script adds surprises to the well-known historical story, but is stretched by an indulgent pace. The period detail is marvelous from the set decor to the instantly recognizable costumes. Finally, Steven Spielberg is a legendary filmmaker that creates masterful epics. However, LINCOLN is not a film that I truly enjoyed or am excited to watch again. 3.5/5 Stars.

The visual storytelling in LIFE OF PI is breathtaking. Ang Lee playfully incorporates lovely images and aids Suraj Sharma to giving a truthful performance in a tricky, difficult role. What the screenplay lacks in subtlety, it makes up for with humor. The task of making the bleak circumstances exciting was masterfully handled through beautiful cinematography and incredible visual and sound effects. LIFE OF PI is truly a technical wonder. 4/5 Stars.

Ben Affleck delivers a surprisingly exciting period drama that is as suspenseful as tender. He directs a fine ensemble with outstanding performance by Bryan Cranston and Alan Arkin.  The ensemble, taut script, and excellent cinematography give ARGO an authentic feel. Affleck has developed nicely as an actor, but more remarkably as a filmmaker. The unrelenting pace and continuous promises of violence make ARGO a top notch thriller right up to its climactic scene.  5/5 Stars.

Hopefully, that was enough to wet your palette. Have you had a chance to see any of these? What did you think??