Displaying items by tag: Rudy Galvan

They say you should never meet your heroes. That may be the case in Philip Dawkins' new play 'The Gentleman Caller' at Raven Theatre. Dawkins', a popular local playwright, was commissioned to write this play about the strange friendship between Tennessee Williams and William Inge. This is Cody Estle's first production as artistic director of Raven Theatre. Tennessee Williams and Inge are often featured in Raven seasons, and 'The Gentleman Caller' gets a fitting premiere here.

The play is told in two scenes, the first takes place in a young William Inge's garden apartment in St Louis in 1943. It's supposed that Inge, a newspaper critic attempted to interview a then unknown Tennessee Williams about his upcoming play 'The Glass Menagerie'. The second act is a few months later, New Year’s Eve. Inge visits Tennessee Williams in a Chicago hotel following the premiere of the play. No record exists of dialogue between the two playwrights, but they maintained a relationship of sorts over the years. The dialogue in Dawkins' play is as he imagined it would have been.

This is an important distinction to make. The events of this play are highly fictionalized. 'The Gentleman Caller' says a lot about what Philip Dawkins thinks of these two playwrights. The character he's written for Tennessee Williams isn't very likeable. Throughout the play Williams feeds Inge a frustrating string of non-answers. Inge, a closeted homosexual is uptight and put off by Williams' vulgarity. There's a lot of sexual tension between the characters, but who’s to say if that was really the case.

Dawkins' play has an inspiring message for creative types or anyone that feels different. It gets a little buried in slow-moving and often redundant dialogue but there's some solid wisdom in there. Estle seems to share a similar vision for this production. It has the feeling of being at a Tennessee Williams or William Inge play.

There are only two actors in this play, Curtis Edward Jackson plays William Inge and Rudy Galvan plays Tennessee Williams. Jackson is well suited for Inge's restrained temperament. His final monologue is captivating. Galvan is somewhat miscast. The depth of his character gets lost in an unconvincing and mostly unflattering impression of Tennessee Williams.

In this play, we see Inge so very disappointed in Tennessee Williams the man, rather than the hero he'd imagined him to be. It may be that when researching this play the author came to the same conclusion. There's a melancholic thread throughout 'The Gentleman Caller'. It shows us a side of our literary heroes we may not like to see. The part behind closed doors and sometimes without success. In that regard, Tennessee Williams would certainly approve of this play.

Through May 27th at Raven Theatre 6157 N Clark Street. 773-338-2177

*Extended through May 27th

After thirty years of bringing Chicagoans some of the city’s finest theatre, Mary-Arrchie will be closing their doors after its current and final production, American Buffalo. In this sharply written piece by David Mamet, Mary-Arrchie co-founder and jack of all trades Richard Cotovsky is joined by Stephen Walker and Rudy Galvan, creating a strong cast fully capable of pulling off such a dynamically written script. And that’s exactly what they do.

Taking place in a rundown resale shop, owner Don (Cotovsky) along with his young hired help and “go-fer” Bobby (Galvan) have hatched a scheme to burglarize a nearby residence in the hopes of stealing a valuable coin collection. But when Don’s longtime pal Teach (Stephen Walker) gets wind of the “thing” he pushes to replace the kid with himself, a man of more experience. Everything happens in a single day as the three small time crook wannabees run through a gamut of emotions with each other in trying to get on the same page. Teach is pushy and talks the big talk but clearly has little experience while Don is more laid back and subdued, often influenced by Teach’s strong presence and facade of confidence. Slow-witted Bobby just wants in for some quick bankroll – or maybe just wants to be a part of something. As the plan progresses it snowballs back and forth until its inevitable unraveling – and the journey is nothing short of hilarious.

When entering the theatre, we are met with what appears to be an authentic resale shop. “Don’s Resale Shop” is printed backwards on the large picture window so as to face correctly for those to read on the outside. Worn shelves are filled with dented gas cans, ratty knickknacks, old toys and assorted vintage items. Power chords hang from the wall with other random merchandise for sale behind a battered counter that supports an antique cash register. Quickly immersed in the set’s genuineness, one really gets the feeling they are inside a dingy thrift store that could be located on any given Chicago street.    

Richly directed by Carlo Lorenzo Garcia, Mary-Arrchie’s American Buffalo offers incredibly talented performances, generally a given with this veteran theatre company. Delivering Mamet’s cutting and quick-fire dialogue with the true essence of how it was intended, Walker knock’s the role of Teach out of the park. Whether generating laughs with the simplest use of body language, convincingly overusing repetitive hood lingo or completely erupting like Mount Saint Helen, Walker rolls up his sleeves and puts forth a gutsy, no-holds barred performance that should long be remembered. All the while, Walker successfully displays his character’s vulnerability beneath the blanket of false self-assurance, making Teach believable, creating someone with whom we can really emphasize. Within moments of Walker’s first appearance where he loses his cool and takes out his frustrations out on a beat up refrigerator over something pretty insignificant, it is apparent we are about to take a pretty bumpy ride. 

Cotovsky, the seasoned pro that he is, also provides an outstanding performance going toe-to-toe with Walker on many heated, sometimes humorously nonsensical and profoundly funny dialogue exchanges. The two pair together like butter on toast, getting a nice occasional boost from Galvan who contributes many of his own well-timed lines. Like a freight train taking off, the production gets stronger and stronger as it progresses. The more we get to know the characters the more we can’t help but take a liking to each of them, regardless of the fact that they are small-time crooks bent on pulling off a caper that comically unstitches more and more the closer the job gets. 

Mary-Arrchie is going out on a high note with this must-see presentation of American Buffalo. The prestigious Chicago theatre company will certainly be missed and we can only hope to continue to see its talented players in future productions around the city. Jeff Award winner, Chicago theatre staple and all-around talent Richard Cotovsky was recently given the honor of having an Honorary Way dedicated in his name that can be seen at the theatre’s intersection of Sheridan and Broadway. An honor well deserved.

American Buffalo is playing at Angel Island (735 W. Sheridan) through March 6th. Honest, funny and thoroughly absorbing, it is with strong recommendation that I urge theatre lovers to catch this final production from this talented company in their apropos farewell. For tickets and/or more show information visit www.maryarrchie.com or call 773-871-0442.