Showing posts with label Caryl Churchill. Show all posts
Showing posts with label Caryl Churchill. Show all posts

Thursday, March 1, 2012

Entertainment Marches On!

I don't know about going out like a lamb, but March is definitely coming in like a lion in terms of local entertainment. It's unusual to have so much happening on the very first day of the month, but that's the way it is for March, 2012.

If you want to go out tonight, you have a choice of great holdovers, promising new stuff, Oscar-winning movies, or a touch of legit* March Madness. First up, what's opening tonight...

Noël Coward's "Blithe Spirit" begins its run at Community Players tonight with a 7:30 Pay-What-You-Can preview. "Blithe Spirit" is, to my mind, Coward's best play, brimming with the wit and droll humor Coward is known for. Its plot involves British novelist Charles Condomine, who is married to a sensible woman named Ruth. But when Charles and Ruth host an unfortunate seance with eccentric Madame Arcati, they accidentally conjure up the spirit of Charles' blithe, beautiful, infuriating first wife, Elvira, who isn't too keen on leaving now that she's back. Uh oh. Now Charles is caught between two wives, one ghostly and the other very much alive and not very happy to be supplanted by an invisible rival.

"Blithe Spirit" is directed by Tom Smith for Community Players, with a cast that includes Thom Rakestraw as Charles, Hannah Kerns and Gayle Hess as his wife, past and present, and Judy Stroh as Madame Arcati. Performances continue through March 17.

Also opening tonight is the Station Theatre's production of Gina Gionfriddo's "Becky Shaw," a tart little comedy of its own. "Becky Shaw," whose title references Becky Sharp, the amoral antiheroine and best part of Thackeray's "Vanity Fair,"was a hit at the 2008 Humana Festival and enjoyed subsequent New York and regional productions. It begins with a terrible, terrible, terrible first date, a fix-up, played off against the pair of dewy-eyed newlyweds who fixed them up, commenting on love, romance, sex and sexual ethics in the modern world.

The acerbic humor of "Becky Shaw" is its strength, and it should do very well at the Station under the able direction of Kay Bohannon Holley, with Lindsey Gates Markel, Mathew Green, Mike Prosise, Martha Mills and Joi Hoffsommer in the cast. "Becky Shaw" opens tonight at 8, playing till the 17th.

Meanwhile, you have two other do-not-miss theatrical choices that are finishing up this weekend. People continue to discuss the problem of female playwrights not getting enough productions, but here in Bloomington-Normal, we have four more performances of Theresa Rebeck's snappy, dark and jaded "Mauritius," about sisters and shady wheeler-dealers battling over a valuable stamp collection, at Heartland Theatre, and three more performances of Caryl Churchill's sprightly but provocative gender-bent comedy "Cloud 9" at ISU's Westhoff theatre..

ISU also has two smaller productions opening tonight, with Vanessa Stalling and Matt Campbell directing Young Jean Lee's "Pullman, WA" and Heather Raffo's "9 Parts of Desire," respectively. Those two shows, more chances to support the work of female playwrights, play this weekend only, both closing on Sunday, March 4.

The women playwrights celebration continues at Illinois Wesleyan University, with April de Angelis's "Playhouse Creatures" taking a bow on March 6 in the E. Melba Kirkpatrick Laboratory Theatre. Christopher Connelly directs this bawdy look at English theater in the 17th century, when women were first allowed to trod the boards (instead of men playing all the roles) and Nell Gwynn went from Orange Girl to theatrical star. IWU's box office page says there are only three performances March 6-8, which means you'll need to be quick on your feet if you want to see this one.

The Normal Theater offers a mini Woody Allen Film Fest with two of his best, "The Purple Rose of Cairo" and "Annie Hall" playing on the big, beautiful screen March 15-16 and 17-18, respectively. 'The Purple Rose of Cairo" stars Mia Farrow as an unhappy wife who loves to lose herself in movies, and Jeff Daniels as the pith-helmeted leading man who leaps off the screen into her life, while "Annie Hall" is the quintessential Allen romantic comedy, about a man very much like Woody who falls for a woman very much like Diane Keaton, and all the sweet, bittersweet and humorous quirks in their relationship.

On screen, the movie that just swept the Best Picture, Best Director and Best Actor awards at the Oscars, "The Artist" is available right now in Champaign at The Art Theater, where they promise us that they have the only "beautiful 35mm print" in town. If you miss it there but want the vintage movie theater experience, you can try to catch it at the Normal Theater March 29-31. That was unconfirmed as of today, but the Normal Theater invites you to keep an eye on their Facebook page for details as the time gets closer.

New Route Theatre gears up for 2012 with its first "One Shot Deal," a reprise of "The Mystical Willie Lynch," Gregory Hicks' poetic exploration of the lasting repercussions of slavery on African-American history, on March 21 at the Eaton Gallery.

Over in Champaign, Parkland College's production of "Pinkalicious, the Musical," directed by J.W. Morrissette, continues through March 10, the University of Illinois opera program opens Rossini's "The Barber of Seville" tonight in Krannert Center's Tryon Festival Theatre, and the Champaign-Urbana Theatre Company (CUTC) will offer the rollicking musical comedy, "The Producers," directed by Mikel Matthews, beginning March 15.

Late in the month, Shozo Sato returns to U of I with his production of "Lady Macbeth: A Kabuki Play," conceived by Sato and written by Karen Sunde. The U of I Department of Theatre says that this take on Shakespeare "retells the Scottish Play from the power-driven perspective of the would-be queen." Further, "[w]ith this evocative production, the Department of Theatre joins the National Theatre Conference’s Initiative to Celebrate American Women Playwrights."

Good for you, U of I. And thank you, ISU, IWU, Heartland, and the Celebration Company at the Station Theatre, for doing your part, as well. I doubt that most of them are focusing on female playwrights on purpose, but even a happy coincidence is to be celebrated.

*Legit March Madness refers to high school basketball in Illinois, where the term "March Madness" was coined. I will tell you all about how that happened someday. For right now, suffice it to say that if I say "March Madness," I mean Illinois and I mean high school. This one's for you, H.V. Porter!

Friday, February 24, 2012

Quirky and Tart, "Cloud 9" Pushes the Right Buttons at ISU

Bending gender, time, age, skin color and everything else you can think of, Caryl Churchill's "Cloud 9," on stage at Illinois State University's Westhoff Theatre, is all at once political, sexual and very, very tart.

Churchill begins "Cloud 9" in Colonial Africa in the 19th century, with Victoria on the throne of England and a whole lot of white male domination going on. We see the household of Clive, a pip pip cheerio British type, complete with pith helmet, sent by the Queen to rule over this small piece of her empire.

The biggest quirk of the play (and there are a lot of quirky bits in "Cloud 9") is the casting. In Act I in Africa, Churchill specifies that a male should play Betty, Clive's lovely wife, a female should play little Edward, Clive and Betty's son who shows traits of femininity that are disturbing to his parents, like being attached to a doll, and a white actor should play Joshua, the African servant who defers to almost anything and everything his white overlords demand. It's all part of her overall theme, to show how the rigid dictates of Colonialism create identity confusion on all levels, as Betty and Joshua have become completely defined and controlled by the white male power structure around them.

Act II takes us to England in the 1970s, showing the same characters, but only 25 years older and now played by different actors. Betty is now played by a woman (at ISU it's the actress who played the governess in Act I) and Edward is now played by a man (Clive from Act I). Meanwhile, the actor who played Joshua takes on the role of a rambunctious little girl named Kathy as well as the ghost of a soldier who died in Ireland, the new Africa in terms of British imperialism.

So not only are the genders switched up in this heady swirl of men, women and children, but they are turned around again when the actors take on new roles in Act II, and more fluid sexuality is explored, with homosexuality and bisexuality added to the mix in the less restrictive 70s.

Churchill paints her characters in vivid colors, pushing at the boundaries of stereotypes for humor and shock value. For ISU, director Jeremy Garrett gets the message across quite nicely, keeping his actors moving as they switch identities and costumes on a dime, and in the end, creating characters who feel real against all the chaos.

The cast of "Cloud 9" has to be an ensemble or Churchill's ideas will never get off the ground, and Garrett's cast works hard to deliver. When it comes to energy and take-no-prisoners attitude, they all go for it.

Individually, Andrew Rogalny Jr. is hilarious and robust (as well as horrifying) as Clive the Lord and Master (whose mustache is like a character of its own) and then sweet and tentative as adult Edward, who finds the real him as a housewife; Danny Rice does quite well traversing the distance between languid, confused Betty and slimy pick-up artist Gerry; Hannah Brown is all perk and pep as little Edward, but quite lovely as Victoria the bisexual wife; Nicholas Spindler is decidedly odd as implacable Joshua the black servant and even odder as hyperactive Kathy who drives her mum crazy; Abby Vombrack is all stern warnings as Betty's mother, adding softness and confusion to get to Lin, the lesbian who has a thing for Victoria; and Alex Kostner gets the unenviable task of playing omnisexual Harry the Explorer, who seems to have sex with everyone and everything he can get his hands on in the wilds of Africa, and then unpleasant Martin, who blames his wife's unhappiness and his own cheating completely on her. Fiona Stephens deserves special mention for dashing on and off with split-second changes between Ellen, the governess, and Mrs. Saunders, a widow with a mind of her own, in the African section, and then playing Betty, just now trying to figure out who she is, in 1970s England. And creating whole characters for all three of them. I don't know how she managed the costume changes, let alone the character changes, between Ellen and Mrs. Saunders, but kudos to Stephens for making it work.

Andrew Sierszyn's set design, with revolving blocks of scenery at the back of the stage, is bold and fun, illustrating the turns the characters are taking, and JM Montecalvo's lighting design adds texture and color, as well. The array of costumes, designed by Sandy Childers, creates instant associations for the characters, which is very helpful when they keep switching personalities.

All in all, "Cloud 9" is a tricky show that will not be to the liking of all audiences. But for those who like their theater quirky, pointed and thought-provoking, with a huge dollop of sarcasm and sexual button-pushing, "Cloud 9" may be just the ticket.

CLOUD 9
By Caryl Churchill

Illinois State University's Westhoff Theatre

Director: Jeremy Garrett
Scenic Designer: Andrew Sierszyn
Costume Designer: Sandy Childers
Lighting Designer: JM Montecalvo
Sound Designer: Sarah Putts
Hair and Makeup Designer: Brittany Powers
Voice and Dialect Coach: Connie de Veer
Dramaturg: David Fisch
Fight Director: Zack Powell
Stage Manager: Casey Peek

Cast: Hannah Brown, Alex Kostner, Danny Rice, Andrew Rogalny, Jr., Fiona Stephens, Abby Vombrack.

Remaining performances: February 24-25, 28-29 and March 1-3 at 7:30 pm; March 3 at 2pm

Running time: 2:25, including one 15-minute intermission

For ticket information, click here.