Displaying items by tag: Lynne Baker

Blue in the Right Way audaciously chose for their inaugural production a 400-year-old play, WOMEN BEWARE WOMEN, written in 1621 by Thomas Middleton and adapted by the company’s co-founders Kevin Smith (Kevin/Kevin’s, also director) and Daiva Bhandari (she/her, also lead actor and choreographer). WOMEN BEWARE WOMEN was abstractly staged, accompanied by a pair of gender-bending commentators, with Spanish/English translation subtitles, original music, exotic projections … and as many other quirky devices as their extraordinary minds could devise.

The result had me asking other audience members, “Am I the only one who has no idea what’s going on here?” Unfortunately, the ones I asked simply looked at me pityingly, one saying, “It’ll all clear up with the second act.” Sadly, this did not transpire. In the first act actors wore sumptuous Jacobean garb, but in the second act costumer Alaina Moore (she/her) chose contemporary dress, and I had trouble even figuring out who was who, leave alone clarifying all that had gone before.

Smith added some notable supplements to Thomas Middleton’s original script. Most remarkable was the double act of Kidany Camilo (they/she/he, Solange) and Bree Perry (she/they, Clara) appearing throughout the show dressed as ‘maids from the Clue game’, with commentary and heart-rending narrative about Solange’s trans/femme childhood.

Also outstanding were Daiva Bhandari (she/her) as Livia, who ultimately gets embroiled in her own schemes and John Zhou Duncan (any with respect) as Ward, who romped exuberantly with Sordido (Shail Modi he/him). Ward is described as ‘immature’ – was this a euphemism for ‘camp as a row of pink tents’?

Kudos to intimacy consultant Leo Mock (they/them/he/him) and intimacy director Courtney Abbott (she/they); as well as and most particularly to violence designers R&D Choreography (Rick Gilbert (he/him) and Victor Bayona (he/him); the fights were marvelous, and the cataclysmic ending was spectacular.

The entire cast was extraordinary: Lynne Baker (she/her, Mother); Ryan Wright Cassidy (he/him, Hippolito); Johnny Moran (he/him, Fabritio); Huy Nguyen (he/him, Duke); Keenan Odenkirk (he/him, Guardiano); Christin Prince (she/her, Bianca); Mia Van De Mark (she/her, Isabella); and Brandon Wiman (he/him, Leantio). Cardinal was played by understudy Alex Amaya (he/him), who did a fine job with a suitably bizarre performance.

Sound engineer Chris Wood (he/they) gave us a lot of sound! though it sometimes overrode the actors’ voices. Likewise, Eme Ospina-López’s (they/them) videos and projections were powerful; sometimes overly so. The scenic design by Andersonville Scenic Studios was made particularly striking by a mirror on the ceiling so the action below was repeated above – striking, yes, but an additional confusing feature in a thoroughly bewildering show. The show ran more than 30 minutes longer than billed, and during the final scenes I kept wondering when it was going to end… and how would I tell when it did?

Also on the artistic and production team were Katie Mazzini (she/her, assistant director); Sonia Perelló (she/her, Spanish translator);  Tianxuan Chen (any with respect, scenic and lighting designer); Juan Contreras-Kirby (he/him, wig, hair and makeup designer); Sam Flipp (she/her, stage manager); Anna H. Gelman (she/her, production manager);  Lililo (Emma Ladji) (she/her, composer); Viviana Mendez (she/her, lip-sync choreographer); Catherine Miller (they/them, casting director);  Keith Parham (he/him, associate lighting designer);  Hayley E Wallenfeldt (any with respect, properties supervisor); Baylee Speer (any with respect, master electrician); Caitlyn Birmingham (she/her, assistant stage manager), and Claire Michalak (she/her, box office manager).  

WOMEN BEWARE WOMEN presented several problems for me, but these did not override its contributions: a stellar cast giving amazing performances and a wonderful production team. The flaw was that all this excellence exceeded itself – altogether too much of a good thing. Blue in the Right Way is unquestionably a theatre company to watch. Kevin Smith revealed himself as courageous and adventuresome; if Kevin can muster a soupçon of temperance Kevin can offer an invaluable addition to Chicago’s theatre scene.

WOMEN BEWARE WOMEN

at The Edge Theater

Running Wednesdays through Sundays through May 12

Having been wanting to check it out for quite a while, I was excited to go see Nice Girl at the Raven Theatre, the theatre’s latest offering, this one by Melissa Ross and directed by Lauren Shouse. Upon entering the Edgewater located venue, I walked into the warmth and was greeted by two friendly gentlemen. It is an unassuming, no thrills theatre, and unfortunately was missing a bar. As I went to find a seat, I noticed the sense of community at Raven Theatre. It was clear the staff was close-knit and well-connected in the theatre community.

I was immediately transported to Massachusetts as they play started. Both Josephine, played by Lucy Carapetyan, and her mother Francine, who is played by Lynne Baker, show fantastic chemistry from the get go and the banter between the two is strong, to say the least. In fact, their repartee is so realistic at times as they both pushed each other's buttons it made me uncomfortable.

The premise of the play is that Josephine is 37, single, and living with her mother. She befriends a coworker named Sherri (Stella Martin) who happens to be the saving grace of this play. She brings a much-needed energy to the sad life that Carapetyan so convincingly brought to her character. As the play progresses we are introduced to Donnie (Benjamin Sprunger) who is an old classmate of Josephine and they start to build a budding romance. But the characters prove to be bland.

There is a twist in the second half of the play in which I missed completely, most likely due to the lack of interest in the play’s characters. I truly struggled with the play and what it offers to its audience. It is sad and without much hope until the end of the show. What I yearned for was the steady, noticeable growth of Josephine throughout the challenges of her relationship with her mother but again, some changes occurred at the end.

Nice Girl is a bit hard to watch but it does have some humor breaks here and there, albeit on the more minor side – not enough to salvage the play. I struggled with feeling much hope for the main character. If seeing the play, be prepared to be sad and have a lot of hurt in your heart. However, when walking out of the Theatre many patrons commented that they enjoyed Nice Girl, obviously appealing to the taste of several theatre goers. Who’s to say who will enjoy what so, as always, check it out and make your own opinion.
Nice Girl is being performed at Raven Theatre where it is running until March 11th. Tickets available at www.raventheatre.com.