Displaying items by tag: Aaron Posner

As soon as you enter the beautiful set that designer Brian Sidney Bembridge, has created for “Life Sucks", you are tip-toeing through what feels like a real forest of delicately lit white birch trees in the light of early evening in Autumn. 

The action then proceeds mostly on the front porch, and dining room/kitchen of a quaint country style house, complete with a small dock and row boat mired in mud, to indicate this is the log cabin style home of someone wealthy enough to live on a lake but not doing well enough any longer to afford a real boat, which turns out to be true.  

The seven characters enter the stage with house lights up and immediately break the fourth wall by letting the audience know a few things about the play, it has four acts with one intermission, and asking insightful questions like, "Do you think people in a hundred years will care how hard we worked?" Which immediately reminded me of the old joke, "What's the opposite of a nymphomaniac?" with the punchline, "a workaholic."

The next question, for the cast only, has them throwing out an enticing list of their "favorite things" ..."the feel of ice cubes swirling around in a heavy crystal drink glass filled with brandy...and what comes after", "a beautiful sunset over the water" and the adorable, "Kittens!" And once more for emphasis, "KITTENS!" and lest we think this is going to be a saccharine sweet play i.e. "The Sound of Music" - "the feeling of anticipation when you know that you are about to have an orgasm".

Ensemble member Andrew White directs deftly with a light hand, keeping the pace of the play moving in an enjoyable way and flowing from act to act naturally, sensually, without the feeling of rushing.

So many directors charged with productions that exceed two hours or are under ninety minutes with no intermission seem to be rushing the actor’s monologues and dialogue. In some cases you can imagine them standing offstage tapping their feet saying, "Pick up the pace people!", which can actually ruin the show, but Andrew White does just the opposite, calming the audience into actually receiving the message this play is trying to deliver. 

“Life Sucks” is an updated version of the Checkov play "Uncle Vanya" and every single one of the seven characters really holds their own throughout.

Eddie Jemison best known for his work from "Ocean's Eleven", "Waitress" and "Hung" is proof that dynamite comes in small packages as he takes on the role of the middle aged, depressed Vanya. 

The entire cast sprinkle the play with so many humorous Yiddish slang terms with adorable ease like the term "ferkocta" which means crazy in the head, or Vanya declaring over and over that Ella is his "beshert" and soulmate, meaning a person's destined love or a love that was meant to be, a love of heavenly creation. All the while Vanya’s pathos as his obsession with The Professor's beautiful, young wife Ella grows out of control. This leads to a hysterical attack on The Professors life as he describes in a monologue how vile, disgusting and unnatural it is to him that she (Ella) should be with such an "old man".  

The Professor is played perfectly by Jim Ortlieb (Billy Elliot) whose great monologue about how even small signs of aging in a man can ultimately ruin a perfectly good relationship is fantastic. We rarely hear the male point of view on this.

The Professor describes while comically, yet realistically, sliding and crawling down the front steps of the cabin in complete exhaustion after a fight with his young wife Ella - how a man sees in the mirror one day. He now sees his soft belly or some new wrinkles or gray hair and feels insecure leading him to take it out on his partner and she in turn becomes more insecure herself - resulting in more fighting and insecurity or his worst fear of all as she "becomes disengaged" from him entirely.

Chaon Cross as Ella is excellent as the young Master's Degree student who "married the smartest Professor in the whole college" and is hit on by every middle aged loser in this small town. Cross delivers a great monologue ala - don't hate me because I'm beautiful because my brilliant husband turned out to be an aging, ego-maniacal alcoholic. 

Ella asks the audience flat out how many of them want to sleep with her with no strings attached by a show of hands, then asks how many are dying to sleep with someone other than whom they are with - and it is a well delivered, very funny and telling moment for the audience. 

Danielle Zuckerman as Sonia seems to be the opposite of Ella. She is The Professors' only daughter and honestly describes how in her family, "It's like everyone is hard-wired to upset everyone else. Like we each have a bunch of buttons on our back that each one of us knows how to push." 

Sonia knows she is not beautiful, or even pretty, she knows that her weight and height, glasses and curly hair are never featured in the magazines she reads and Zuckerman gives a great, breath of fresh air feeling to the entire production that it inherently needs. In one scene with Ella she admits to actually "hating" Ella for her beauty and attractiveness to ALL the nearby men and Ella forces her to "slap her right in the face" which Sonia does. After the "enjoyable" catharsis of the slap in the face they pour rum and Cokes together and begin to bond as both stepmother and friends. 

Another great scene between Sonia and Dr. Aster, a middle-aged Lothario who wants to change the world - but only talks about it, occurs when Sonia tries to tell the doctor she has a crush on him. When she realizes Dr. Aster is 'in love" with Ella too, she delivers a great monologue after his exit about how she talked with him about "mystical butterflies' when she really wanted to say, "Take me upstairs and f-ck me, f-ck me so well and so hard the whole universe stops to watch ... and the stars stop in their orbits and her whole body finally understands what it is to be truly alive...but instead I talked about mystical butterflies."

Ensemble member, Philip R. Smith, best known for his roles in "High Fidelity" and “Since You've Been Gone" is very funny in the role of Dr. Aster, an admitted alcoholic who rambles on about the very real dangers of climate change and other depressing subjects that remind us these characters are living in the present day.

Another example of the timeliness and universality of this play is when at one point an audience member is asked what his deepest, darkest fear is and he answered without hesitation, "Donald Trump", which got a huge laugh.

Penelope Walker plays "Pickles", a lesbian (who ALSO flirts with Ella). Pickles is a neighbor and friend of Sonia's late mother who wanted to be a real artist but ended up crafting what looked like leg warmers for the birch trees to wear and hand puppets made of yarn. Walker is funny and upbeat as the character whose age we can't quite tell, the free-spirited loser we all love who would never say life sucks even if hers does.

At the end of the show, Vanya and the cast break the fourth wall for the last time and confront the entire audience with the question, "Does life suck?" Some people shouted “yes”, or “no”, I shouted “sometimes”. Then Vanya called specifically out to the woman sitting two seats away from me (his wife) and asked her, she poignantly answered, "No it does not suck because life is beautiful – there is even beauty in its pain." I had to agree with her. 

Highly recommended.

“Life Sucks is being performed at Lookingglass Theatre through November 6th – www.Lookingglasstheatre.org.  

Everyone is looking to be loved and to give love though it’s not always that easy as we find out in Stupid Fucking Bird. In this twisted and very comical take on Anton Chehkov’s The Seagull that is filled with bird references relating to life, Stupid Fucking Bird is the story of dysfunctional friends and family who are defined by their own complexities, self-absorption and yearnings. Also relating theatre to life, Aaron Posner’s Stupid Fucking Bird uses stage performance as insightful metaphors to human behavior.

Sideshow Theatre Company’s production of Posner’s adaptation of Chehkov’s boring and often hard to watch stage classic is nothing short of hilarious at times and funny all the way through despite a heavier ending than expected. Assembled in this witty play is a dynamite cast led by Nate Whelden who plays “Cody Proctor”, a tortured playwright who is in love with his subject “Nina” (Jeff nominated Nina O’Keefe) whom will never love him in return. Cody Proctor is incensed with commercial theatre that is not “world changing” and is determined to write provocative and meaningful art that has an effect on society. In the meantime, emptiness, loneliness and lack of purpose are ever present in those close to him and “Nina” wants to be a seagull – thus the title, Stupid Fucking Bird.

The story is filled with dark humor and clever parodies of the original it spoofs. There are moments where the actors interact with the crowd, whether to ask for advice on a specific situation or to simply vent to us. The set is modest but effective to which its simplicity actually adds to the show’s theme of hollowness and the constant longing to be complete. 

Stupid Fucking Bird is not only funny it is also heartwarming and can be thought provoking on occasion. It is a journey that most are all too familiar with and it is a struggle that can often be overcome. There is a good reason this play was a hit on the East Coast, that being it’s engagingness and cast of characters that are easy to identify with. 

Stupid Fucking Bird is playing in the upstairs theatre of Victory Gardens (2433 N. Lincoln) through September 21^st. For tickets and/or more information, visit www.victorygardens.org or call (773) 871-3000.    

*Above photo - (left to right) Matt Fletcher, Katy Carolina Collins, Nina O’Keefe, Nate Whelden, Cody Proctor, Stacy Stoltz and Norm Woodel in Sideshow Theatre Company’s Midwest premiere of STUPID FUCKING BIRD by Aaron Posner, sort of adapted from Anton Chekhov’sThe Seagull, directed by Jonathan L. Green.  Photo by Jonathan L. Green.