Showing posts with label Jeremy Garrett. Show all posts
Showing posts with label Jeremy Garrett. Show all posts

Thursday, April 4, 2013

THE ADDING MACHINE Opens Tomorrow at ISU

Elmer Rice's The Adding Machine has long been cited as a fine example of American expressionism. That means the tone is a bit surreal and strange, with a dark, nightmarish story and characters like Mr. Zero, the antihero hero, who personifies man's inhumanity during the Machine Age more than a real person.


Rice was a major player in American theatre in the early part of the 20th century, even though he wrote only two well-known plays, The Adding Machine and Street Scene, both of which made it to Broadway. Street Scene was made into a 1931 movie starring Sylvia Sidney. The Adding Machine also got a movie, but not till 1969. In that one, Milo O'Shea and Phyllis Diller (!) played Mr. and Mrs. Zero.

The plot is pretty simple, in an expressionistic and surprising sort of way. Mr. Zero is a nothing, a nobody, as you might guess from the name, and he works (and has worked for the last 25 years) as a bookkeeper at the same company. But progress marches on, and the day comes when the boss tells Mr. Zero he's been replaced by an adding machine. His job -- annoying and monotonous as it is -- is the only thing he has, and he strikes out when he's fired, killing his boss. That results in a murder trial and execution, after which Mr. Zero gets sent to the Elysian Fields. Happily ever after in the afterlife? Nope. He's still just a cog in a huge machine, doomed to continue to repeat his mistakes.

Companion pieces for The Adding Machine might be Fritz Lang's Metropolis, an example of German expressionism with a similar critique of industrialization at the expense of the worker, or Charlie Chaplin's Modern Times, which gives the Man vs. Machine issue a comic twist and a sweet, appealing hero, or Stairs to the Roof, a Tennessee Williams play inspired by The Adding Machine.

Third-year MFA director Jeremy Garrett has put his stamp on Illinois State University's Adding Machine, with David Fisch as Mr. Zero and Caitlin Boho as his nagging missus. Others in the cast include Storm Angone, Pat Boylan, Trace Gamache, Lizzy Haberstroh, Matt Helms, Dominique Jackson, Drew Mills, Kent Nusbaum, Jenny Oziemkowski, Jason Raymer, Allison Sokolowski, Kelly Steik, Kaitlyn Wehr and Arif Yampolsky. Jake Wasson is the scenic designer, with Olivia Crosby as costume designer and Deborah Smrz as lighting designer.
The play opens tomorrow night in the ISU Center for the Performing Arts, with performances at 7:30 pm through April 13, and one Sunday matinee on April 7 at 2 pm.

Click here or here for ticket information.

Saturday, December 29, 2012

Who's Who for Elmer Rice's THE ADDING MACHINE at ISU

As we near the end of 2012, we have some very intriguing shows to look for in 2013. One of the strangest is probably Elmer Rice's 1923 play The Adding Machine, set for performances from April 5 to 13 at Illinois State University's Center for the Performing Arts.

The Adding Machine is an expressionistic piece about an everyday schlub, a nobody named Mr. Zero, who is what you might call a pencil pusher. Mr. Zero has held the same job for 25 years. But now he's about to be replaced by a machine. An adding machine. Without his job, Mr. Zero truly is nothing, and he has a violent reaction to the boss who announces the arrival of the machine. That takes Mr. Zero on a journey through the justice system and eventually a weirdly surreal afterlife called the Elysian Fields.

You may recognize Elmer Rice's name for Street Scene more than The Adding Machine, given that he won a Pulitzer Prize for the former. But it's the latter that gets revived more often, and its picture of an inhumane industrial world seems to resonate throughout the decades.

Tennessee Williams riffed on the same basic idea in his play Stairs to the Roof, which I saw some years ago at the University of Illinois. There was also a 1969 film of The Adding Machine which starred Milo O'Shea as Mr. Zero, as well as a 2008 musical version directed by David Cromer that started in Chicago and made it to the Minetta Lane Theatre Off-Broadway, where it picked up numerous Lucille Lortel and Drama Desk awards.

For ISU, MFA directing candidate Jeremy Garrett will take the controls on this Adding Machine, with David Fisch, who played Queen Elizabeth I, Adolph Hitler and Ronald Reagan in last year's Passion Play, taking on Mr. Zero.

Others in the cast include Caitlin Boho as Mrs. Zero, Lizzy Haberstroh as Daisy, and Storm Angone, Pat Boylan, Trace Gamache, Matt Helms, Dominique Jackson, Drew Mills, Kent Nusbaum, Jenny Oziemkowski, Jason Raymer, Allison Sokolowski, Kelly Steik, Kaitlyn Wehr and Arif Yampolsky in multiple roles.

Jake Wasson will design the set, with Olivia Crosby as costume designer and Deborah Smrz as lighting designer.

I'm not sure what I think of The Adding Machine in the expansive CPA. If ever a show seemed suited to a stripped-down black box, it's this one. But it does have a large cast. And there is that Elysian Fields scenery to think about. So I guess we'll just have to see what Garrett and his cast pull out of the hat to put up the world of Elmer Rice's imagination.

Click here for more information about The Adding Machine and all of ISU's upcoming season.

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.