Three reviews: Classic (or neo) works on stage and screenPosted: March 13, 2015
It’s spring! I knew that for sure today when I decided to get the salt washed off the Beetle and had to wait in line around the block from Bert’s Car Wash on Grand Avenue. It’s a beautiful day and I didn’t mind sitting in the car, listening to a Springsteen album. And now the Beetle is clean. (Of course, to be realistic, it could snow again. And again.)
Despite the weather, I’ve reviewed some excellent plays recently, two of them of classic origin. And I’ve spent time mulling over a remarkable 1949 film, The Third Man. Here’s a recap.
Endgame at The Hypocrites
Samuel Beckett’s midcentury play, Endgame, is said to represent the theater of the absurd. And it is absurd. Non-linear, plotless. Very funny in a black humor sort of way. The Hypocrites do a great job of staging it so that the dialog gains meaning and connects to our circumstances today. Here’s how I ended my Gapers Block review:
The 90-minute play is skillfully directed by Halena Kays, carefully following Beckett’s stage directions–to which the playwright demanded full compliance. The performances by all four actors are superb. The festive cabaret atmosphere of the venue makes the black absurdity of the play more profound.
You can see Endgame at The Hypocrites’ new space at the Den Theatre on Milwaukee Avenue through April 4.
Antigonick at Sideshow Theatre Company
Non-classic or neo-classic? Anne Carson’s contemporary translation or reimagining of Sophocles’ Antigone is witty and the casting is gender-bending. The way double casting is used brings fresh insights to the age-old story of Antigone, her two slain brothers, and King Kreon’s refusal to allow proper burial rites for one of them. Antigone’s opposition to that ruling is dramatized by the words of the Chorus and of Teiresias, the blind prophet. When she tries to get her sister Ismene to help, Ismene reminds her of the tragic family history.
“Wherever we are, think, Sister — father’s daughter. Daughter’s brother. Sister’s mother. Mother’s son. His mother and his wife were one. Our family is double, triple degraded and dirty in every direction. Moreover, we two are alone and we are girls. Girls cannot force their way against men.” And Antigone responds, “Yet I will.”
And the 75-minute production is timed and measured by Nick, a servant who is busy on stage—but wordless—throughout the play.
Staging and performances are excellent in Sideshow’s interpretation of a classic story. You can see it at the Victory Gardens’ upstairs studio theater through April 5. See my review for details.
The Third Man, preferably on a big screen
Carol Reed’s The Third Man is set in Vienna just after the end of World War II. Many critics have called it one of the greatest films ever made and, after watching it half a dozen times recently, and considering all the ingredients that make up a masterpiece, I agree.
The film is noteworthy for its stars—Joseph Cotten, Orson Welles, Alida Valli and Trevor Howard. The plot and characterizations are fascinating but the element that makes it a masterpiece, in my mind, is the black-and-white cinematography and the night-time exteriors of war-torn Vienna. The film is simply gorgeous and I urge you to see it on the biggest screen possible. Do not watch it on your phone! I have a friend who has an eight-foot screen in his living room and that was the best screening I can imagine, short of seeing it on a big screen at an arthouse.
The theme of Chicago Literati‘s current issue is “Cinematique: The Movie Issue.” I submitted an essay on The Third Man, which you can now see on the magazine’s site. I’ll bet that even if you don’t remember the film, you’ll remember the zither music.
It’s Oscar time. Love the art, if not the artist. The best films of 2014, according to me, and why it doesn’t matter if you like the character or not.
Foreign films including one featuring The Talking Heads. (Yes, one of my favorite bands.)
A classic play on screen: Ibsen’s The Master Builder translated brilliantly.