Displaying items by tag: Lily Mojekwu

Objects in the Mirror, an outstanding play having its premier at Goodman Theatre, will soon have you wanting to know more about its author, Charles Smith, a Chicago playwright.  

Starring Daniel Kyri as Shedrick Yarkpai, this play springs from the true story of the real life Yarkpai, a refugee who fled Liberia in the aftermath of its first Civil War, struggling for 12 years across hostile terrain and through refugee camps in Guinea and Cote d’Ivoire.

Excellent performances and a creative set and lighting make this a show not to miss, especially for the wonderful writing of Charles Smith. Breon Arzell plays cousin Zaza Workolo; Ryan Kitley is Rob Mosher; and Lily Mojekwu as Shedrick’s mother Luopu Workolo is just spectacular – she steals all her scenes.

The real life Shedrick Yarkpai eventually made his way to Adelaide, Australia, and as fate would have it became an actor. And so, playwright Smith met him and heard his tale while staging another of his plays there - Free Man of Color (it won a 2004 Jeff Award and has been staged widely, including the Goodman).

Shedrick Yarkpai’s passage through the wilderness alone would be a worthy story, bringing our attention to the privation in Liberia wrought by years of civil chaos. But this play would not succeed as it does, unless it can hold our attention and keep us in our seats. 

And here Smith’s skillful craft shines through, along with director Chuck Smith and the creative team, who have turned the years-long odyssey of the protagonists, Shedrick and his uncle John Workolo (Allen Gilmore is terrific) – they ate grass, lived in the bush, both life and limbs, literally, endangered by violent, machete wielding warriors – and condensed it into an engaging trek, showing geography, educating us on the history, but all in an entertaining way, unlikely as this may seem.

Objects in the Mirror is so much more than a topical recount of Liberian suffering and struggle. Smith also puts before us the psychological and emotional toll on all refugees who must give up so much of their culture, and themselves, in resettling. Among the things so striking about Smith’s play is how he holds our interest in Shedrick’s odyssey. But he subordinates it to a more charged dramatic concern: the personal compromises refugees must make in escaping, and losses that can never be reclaimed.

In a way that only theater can, we engage and experience the personal emotional stress. And while we know of the trauma, what Smith conveys is the suffering from loss of identity, and of dreams. Shedrick has adopted a false identity to make it through border crossings – but he regrets the loss of his name.

Shedrick is a dreamer. He is also a storyteller, as is Smith, and the characters he has created. "Through storytelling, the play ascends to a powerful examination of truth and falsity, and the powers of persuasion. All good stories tell a strand of the truth," says Uncle John.

Once in Adelaide, Yarkpai finds work with a supportive Australian government agent – but Shedrick’s uncle John is fearful it will blow their cover. The debate through several scenes in which different characters tell their version of the parts of Shedrick's story is the stuff of great theater. 

The creative team includes Riccardo Hernandez (set design), Mike Tutaj (projection design), John Culbert (lighting design), Birgit Rattenborg Wise (costume design), Ray Nardelli (sound design). Briana J. Fahey is the production stage manager.

Objects in the Mirror runs through June 4 at the Goodman Theatre. It is highly recommended.

It’s not often a theatre company tackles two Pulitzer Prize winning plays in one season, but Steppenwolf is doing just that. While you may grow a long white beard waiting to see the 2016 winner, "Hamilton," Steppenwolf has 2014 and 2015 covered with "The Flick" and "Between Riverside and Crazy." Playwright Stephen Adly Guirgis' work was last seen at the Steppenwolf in 2012 with "The Motherf@cker with the Hat." He won the 2015 Pulitzer for "Between Riverside and Crazy." 

"Between Riverside and Crazy" is largely similar to "The Motherf@cker with the Hat," in that it deals with issues of addiction and inequality. "Riverside" tells the story of Walter (Eamonn Walker) who's a retired cop with one of the last rent controlled apartments in a nice part of Manhattan. The catch is that he's hopelessly waiting for a settlement from the city because he was shot by another officer. Walter, or Pops, as he's called has a habit of taking in degenerates and trying to nurse them back to health. He forgives people of their sins and keeps company with thieves and whores, sound familiar? 

Guirgis' play couldn't come about at a more topical time. Though, when thinking of an ethics tale about a police shooting, most would have a different notion of how the author would address issues of race. Guirgis is unflinchingly realistic, with the point being that nobody is perfect. The space between right and wrong seems to be too narrow for this play, as are most instances in life. What he does well is set characters up to appear one way, only to cynically devolve into what we're conditioned to assume. 

Eamonn Walker impeccably leads this top-notch cast. He's able to embody the grizzled, but lovable character in such a natural way you'd think you've known him forever. Audrey Francis also stands out in her performance as Walter's former beat partner. She plays an unlikeable character with such sincerity that you almost forget she's not really on Walter's side. Lily Mojekwu is one of the show's best hidden gems. Her character, Church Lady, doesn’t enter until well into the second act, but her narrative propels the story to its conclusion. She's another character you want to trust, but if you've been in the real world long enough, you know better. 

Yasen Peyankov's production of "Between Riverside and Crazy" is a slow building, but highly rewarding theatre experience on the same level as "Clybourn Park." Good for the Steppenwolf for forcing unpleasant issues in the face of middle class audiences. While some may leave the theater feeling as if their world views are affirmed, others will leave questioning their own morals. 

Through August 21st at Steppenwolf Theatre. 1650 N Halsted St. 312-335-1650

“Look, We Are Breathing” at Rivendell Theatre is a powerful drama that deals with the coping of loss. Written by Chicago playwright Laura Jaccqmin, “Look, We Are Breathing” examines the grieving process when the one taken away so unexpectedly never really amounted to much nor has shown the potential to ever become much of anything at all. This is the case when high school hockey player Mike is killed in a drunk driving accident on his way home from a party. Always a troublemaker with a bad attitude, rude and the perennial class clown, Mike is disrespectful to his parents, his teachers and is one to take advantage of a girl’s innocence given the chance. He’s exactly what we don’t want to see in a teenage boy. Passing thoughts wonder if maybe the world would be a better place without someone like Mike.

This hard-hitting four-character play deals with the aftermath of Mike’s tragic accident. A series of flashbacks throughout the play help us get to know Mike while narratives from his English teacher Leticia, his mother Alice and his one-night stand, Caylee, provide us with more of an understanding of Mike’s behavior and the effect it had on those close to him – and those who wanted to be close to him.  

The set is simplistic. A chest-like trunk sits center stage that is used at times for a dining table or a car when need be. But the sets simplicity in this case is a plus as it helps direct focus where it should be – on the characters and story. Cast members Lily Mojekwu (Leticia), Brennan Stacker (Caylee), Tara Mallen (Alice) and Brendan Meyer (Mike) make a special point of making eye contact with the audience members in this intimate thirty-six seat theatre, as they explain themselves and open up as though expecting comforting words in return.

This play works because of its absorbing story and the very heavy-duty acting performances by each and every cast member. “Look, We Are Breathing” is a gripping story that is sure to draw in the average theatre goer, and might relate especially to those who have suffered recent losses. Towards the play’s end Caylee talks about what could have been rather than reflecting on Mike’s past behavioral issues and lack of promise of any sort. Then we stop and think - Even when you question if someone's life is worth it, when they are young, they have no time to grow out of it – and that’s the truest tragedy. They have no time to grow up to be the ENT doctor, to build meaningful friendships, to become a loving parent or to contribute in making this world a better place. We learn compassion and empathy as we grow older and “Look” understands that rather than judging one’s short past.

True to their claim that Rivendell Theatre Ensemble is Chicago’s only Equity theatre dedicated to producing new work with women in core roles, “Look” presents three strong characters in a mourning mother, a girl who believes there was more to a relationship than there really was and a teacher who tries desperately to get through to a student who has built many walls.

“Look, We Are Breathing” is playing at Rivendell Theatre (5779 N Ridge Ave, Chicago) through May 16^th. For tickets and/or more show information call 773-334-7728 or visit www.RivendellTheatre.org.