My New York month is coming to an end—just one more week and I’ll be heading home. Mixed feelings, because I always love going home. And there is certainly lots of arts and culture to consume and review in Chicago. But there’s a certain something about New York. No other city can match it. So I hope to do this again in a year or two. Here’s what I’ve been doing since I last posted here.
Among the plays I’ve seen recently are three that I’ve reviewed for Third Coast Review.
Theater Highlights, Part 2
Sam Shepard’s True West, starring Ethan Hawke and Paul Dano as the battling brothers, was a pleasure to see again with another set of players. I’ve seen this play many times–first in 1982, when Steppenwolf staged it with John Malkovich and Gary Sinise playing the lead roles. This New York production at the American Airlines Theatre was excellent—and I took a different theme from it this time. The American dream, perhaps exemplified by one brother’s hard work at developing and writing a screenplay, is turned on its head. His drifter brother manages to bullshit his way into a film contract by making up a story as he talks with a film producer. And, of course, it all ends in a battle of…toasters and toast.
Juno and the Paycock at Irish Repertory Theatre is the second in its Sean O’Casey season. This is the best known of the three plays and Irish Rep stages a terrific production, led by the theater’s co-founder, Ciarán O’Reilly, as the ne’er do well Captain Jack Boyle. The play is beautifully cast, mostly with Irish Rep regulars, and succeeds in threading the tragedy of the Irish Civil War beneath the humor and occasional sadness of a Dublin family.
King Lear (Cort Theatre on Broadway) starring Glenda Jackson as Lear was a highlight of my New York month. I saw the play in preview, since it won’t open until April 4. Therefore I can’t review it now, but will write a review later. I can say now that it is a four-star production; not only is Jackson a solid and satisfying Lear, but the cast is diverse and the staging and direction (by Sam Gold) are brilliant.
Nantucket Sleigh Ride, John Guare’s newest play, is a world premiere being staged by Lincoln Center Theaters in the Mitzi Newhouse Theater. My review was just posted today. The play is a farce, with lots of laugh lines, but it is a strange mix of reality and surrealism, laced with more pop culture references than I could keep track of. It’s an updated version of an earlier play, as I mention in my review, but I think it’s still not ready for prime time.
A unique theater resource in New York is the Theatre on Film and Tape archive (TOFT) at the New York Public Library for the Performing Arts (adjacent to the Lincoln Center theater building). TOFT records many of the plays and musicals produced on Broadway and off-Broadway. The archive is available to theater professionals, students or researchers with work- or study-related projects. You request viewing of a play by locating it on the TOFT website and calling to sign up for a viewing appointment. When you arrive, the films are cued up on a computer in the archive’s screening room. I’ve watched several plays there on two different occasions, including the 1988 and 2009 productions of Waiting for Godot. I’m hoping to get there once more this week.
Art at the Whitney and the Museum of Arts and Design
One of the important art exhibits on view in New York right now is Andy Warhol–from A to B and Back Again at the Whitney Museum of American Art. I saw a preview of the exhibit last fall, just before it opened, and I was happy to be here in time to see the exhibit before it closes March 31. It’s a huge exhibit, a retrospective of Warhol’s life in art, film and pop culture generally, beginning with his childhood in Pittsburgh. The exhibit will transfer to the Art Institute of Chicago this fall, with an October opening planned. Here’s my review of the Whitney exhibit.
The Museum of Arts and Design is a small museum located at 2 Columbus Circle, near 58th and Broadway. I particularly liked the exhibit titled The Future of Craft, Part One, on the third floor. The exhibit features many beautiful works in fabric art, both decorative and (sort of) wearable. On the second floor, there’s an exhibit of contemporary jewelry, titled Non-Stick Nostalgia. It’s all exquisitely displayed in unusual cases.
A special feature of the museum is the restaurant Robert on the ninth (and top) floor of the building. The restaurant has great views looking north toward Central Park and the upper west side. The food and service are excellent. We had a delightful brunch there on a Sunday.
This is coming to you live from New York, where I’m hanging out for the month of March. I decided I wanted to live like a New Yorker and take in as much arts and culture as I could in a relaxed way. I’m staying in a tiny but comfy apartment in midtown, near the theater district. It’s a neighborhood I know and public transportation is really convenient here. I’ll report on some of my arts adventures rom time to time.
The Shadow of a Gunman at Irish Rep
My first theater review was posted today on Third Coast Review, where I regularly write about theater and art. At Irish Repertory Theatre, a theater company I have admired over the years, I reviewed the first in their O’Casey Cycle, celebrating the work of Sean O’Casey. He was a nationalist and a socialist and an Irish freedom fighter–and one of Ireland’s finest playwrights. My first review is of The Shadow of a Gunman, set in 1920 Dublin, where the war for independence rages outside a tenement building. There’s a bit of comedy throughout, but as the play proceeds, reality sets in. And the opposing forces, the vicious Black and Tans, invade the neighborhood–and then the house. A valise left in the room in act one becomes a Chekhovian gun in act two. The acting and direction are excellent, as is always the case with Irish Rep.
I’ll be seeing the second O’Casey play, the more familiar Juno and the Paycock, next week. Watch for my review.
I have plays scheduled throughout the month but I have plenty of room for other activities. When nothing else demands my attention, I’ll go to the Film Society of Lincoln Center, which offers a regular schedule of new films, both international and American, retrospectives, filmmaker talks and discussions. There are two FSLC buildings on opposite sides of 65th Street near Columbus Avenue. Their screening model is similar to that of the Gene Siskel Film Center, but on a larger scale.
Cold War, a love story over the decades
The first film I saw at the Film Society was Cold War, which screened recently in Chicago. It’s the latest film from Polish filmmaker Pawel Pawlikowski, whose film Ida won the 2015 Oscar for Best Foreign Language Film. Cold War is a love story told across two decades in post-WW2 Poland and in several European cities. The film is told mostly from the viewpoint of Wiktor (Tomasz Kot), an instructor and band leader, whose lover is Zula (Joanna Kulig), an engaging and ambitious singer and performer. (I felt the film overplayed Wiktor’s viewpoint and underplayed Zula’s.) They are both members of a national musical touring company that presents Polish peasant-style works. While the company is in East Berlin for a concert, the two lovers plot to leave for the west. But only Wiktor actually escapes and thus the journey of longing begins. The film is notable for its gorgeous cinematography, shot in high contrast black and white with some glorious imagery, lighting and scenes. The story is elliptical, as Pawlikowski skims over the 20-year period in 88 minutes. Steve Prokopy reviewed Cold War recently.
In an interview screened before the film, Pawlikowski said, “The definition of art is what you leave out.” And he left out a lot, but nothing was missing. The ending is particularly beautiful—finished off with an interlude from Bach’s Goldberg Variations, “Aria.”
The Band’s Visit
I also saw this lovely play with music this week on Broadway. It’s been reviewed everywhere, so I won’t review it here. It’s called a musical but it doesn’t have egregious singing and dancing–that is, the dialogue is spoken, not sung, and dancing is done when it fits the plot. The music is performed by the musicians from the Egyptian band that visits the Israeli village and by a small pit orchestra. The play is directed by David Cromer, a Chicago theater luminary who has been highly successful in New York, both as director and actor. The Band’s Visit goes on tour this year and will be in Chicago at the Cadillac Palace in September. If you’d like to know more about the story, get a DVD of the excellent 2007 Israeli film of the same name.
And more ….
Today I’m seeing the Andy Warhol exhibit at the Whitney (Andy Warhol—From A to B and Back Again). My next article will cover that comprehensive exhibit. “Mr. Paradox, who never left, is back,” as Holland Cotter said in his New York Times review.
Last week, I posted my opinion about Lincoln Yards on Third Coast Review. With all the discussion and controversy about parks, soccer stadiums and TIF money, I wanted to focus on the element that’s being taken for granted. The design of Lincoln Yards is centered with a mass of high rise buildings. The area is surrounded by traditional Chicago low-rise neighborhoods and this seems like thumbing your nose at Chicago’s history and traditions. Yes, we have a wall of highrises along the lakefront and in the loop, but they do not belong in our neighborhoods. There have already been too many intrusions of this type. Here’s what I wrote.
We don’t have to look far for a definition of a neighborhood. Jane Jacobs, the famous architecture writer who faced down Robert Moses’ efforts to demolish part of Greenwich Village to build a highway, wrote about it. She stressed the importance of mixed uses, short blocks that added corners, sidewalks and parks, population density, and both old and new buildings. Her 1961 book, The Life and Death of Great American Cities, is considered one of the most influential works in the history of town planning.
The plans so far for Lincoln Yards, one of the most important planned developments in Chicago’s history, meet none of the Jacobs definition. We had a victory last week when Alderman Brian Hopkins (2nd Ward) vetoed the part of the Sterling Bay plan that was to include a 20,000-seat soccer stadium and a massive Live Nation entertainment district. But the worst aspects of the 70-acre plan remain: The presence of 20 highrise towers ranging from 400 to 650 feet. That means roughly 40 to 60 stories. The buildings, planned for commercial and residential use, could house 24,000 workers and 5,000 residential units, and would loom incongruously over the surrounding low-rise neighborhoods of Lincoln Park and Bucktown/Wicker Park.
Lincoln Yards is located along the north branch of the Chicago River in a former industrial district; it’s the former home of Finkl Steel. It’s bounded by the Kennedy Expressway to the west, Webster Avenue to the north, Clybourn Avenue to the east and North Avenue on the south. If you’re a music lover, you will recognize immediately that the site of our beloved Hideout is within those boundaries.
As the risk to the survival of the Hideout and the damage to other music venues became clear in November, Chicago’s independent music venues organized to fight the Lincoln Yards plan. They asked the city to take time to consider all aspects of the plan, including use of TIF money, rather than rushing it through so that Mayor Emanuel can consider it part of his “legacy.”
When Alderman Hopkins was seeking input, I completed his survey and included this as my response to the single open-ended question: “The high rise residential plan is totally unacceptable. This will not be a Chicago neighborhood. Residential buildings should be two-, three- and four-story max. Also the Live Nation entertainment venue is far too large. It would be much better to encourage local venues and local art/music groups to create small, storefront spaces typical of Chicago neighborhoods.”
Blair Kamin, the Tribune architecture critic, has done an excellent job of describing and criticizing the Sterling Bay plan and its support by almost-lame-duck Mayor Emanuel. Kamin begins one article this way:
“A great urban place is more than a motley collection of tall buildings and open spaces. It has lively streets, pulsing gathering spots and buildings that talk to one another rather than sing the architectural equivalent of a shrill solo.
“Daley Plaza, with its enigmatic Picasso sculpture and powerful county courts high-rise, is a great urban place. So is the North Side’s Armitage Avenue, lined with delightful Victorian storefronts.”
A neighborhood is a place where you can walk around at any time and see many other people walking, shopping, pushing strollers or riding bikes. There are places to stop for a coffee or a sandwich, to linger with your laptop, and benches where you can sit and people watch or read a book. There are bars where you can have a beer with a buddy or listen to music, which blares out to the street at night. And please let there be bookstores. As Jane Jacobs said, a neighborhood is for foot people, not car people.
That’s what Lincoln Yards should be. It should settle in a neighborly way amongst the surrounding neighborhoods and enable traffic back and forth across fungible neighborhood lines. It should not be, as it is set out now, a self-contained skyscraper community insulated from the rest of the city. Sterling Bay and architecture planning firm Skidmore, Owings & Merrill should not be trying to foist this nightmare on Chicago. They should all be reading, or rereading, Jane Jacobs’ book.
For an excellent overview and critique of the Lincoln Yards plan, I recommend these articles by Kamin.
And of course, Jane Jacobs’ book.
A second book, which I highly recommend, is The Power Broker: Robert Moses and the Fall of New York. Robert Caro’s biography describes how the unelected official built an empire and lived as an emperor under six New York governors and 11 NYC mayors, until his reputation was finally destroyed. It’s a great read.
To the glitzy, glassy Apple store
For iPhone repair…
Nothing serious, just a battery upgrade.
But—an hour a half, says Matt,
My Apple red-shirt guy.
(Beat.) An hour a half?
Without my phone? I don’t have my iPad … my laptop is at home.
It’s a strange feeling …
No electronic tether.
No one knows where I am
Sitting in a café on Michigan Avenue.
No one can call me or text me.
I don’t know who has answered my emails
Or sent out a plaintive call for help.
The question: Does anyone need me?
Do my sons think I’m on a cart in the ER?
Or—most likely—no one has noticed.
NOTE: If your old iPhone needs a new battery, Apple says it’s replacing them for $29 through 12/31/18. But prepare for the anxiety. Bring a book. Or write a poem.
Kurt Vonnegut’s best-known play didn’t get a very good review from Clive Barnes when it opened off-off Broadway in 1970. But the legendary New York Times reviewer called it “inspired idiocy” and said “There was not much I found to admire in the play, but a surprising amount to love.” Happy Birthday, Wanda June isn’t performed very often. The last evidence I can find of its staging in Chicago was a 1991 production by a company called Bad Rep Theater Company. But I had the good fortune to find it playing last week at an off-Broadway venue near Times Square called the Duke on 42nd Street. Actually, I was there before, in 2004, when Chicago Shakes transferred its bloody Rose Rage (an all-male production of Shakespeare’s Henry IV, V and VI condensed and staged in a Victorian slaughterhouse) to the Duke.
Happy Birthday, Wanda June is a wacky satire on American culture and our obsessions with guns and warfare. Vonnegut was inspired to write it after rereading Homer’s Odyssey during a Great Books series. His first 1960 version was titled Penelope and he rewrote it years later with the title Happy Birthday, Wanda June. The title character appears only in dream sequences; she’s in heaven playing shuffleboard, having been run over by an ice cream truck.
While I was writing my review, I remembered a play called Penelope that riffed on the same story (warrior comes home from the wars after many years; finds his wife’s suitors hanging around) staged by Steppenwolf Theatre in 2012. The play by Irish playwright Enda Walsh and directed by Amy Morton was memorably manic. The four suitors, hanging around an empty swimming pool, all clad in Speedos (which should never be worn by men over 18), were four notable Chicago actors: Scott Jaeck, Yasen Peyankov, Tracy Letts and Ian Barford.
Through the magic of their plots, characters and language, Mr. Shakespeare and the Greek playwrights and poets remain bristlingly relevant. And so does Vonnegut. I recently reread and reviewed his early novel, Player Piano, a story about a society in which humanity had become superfluous. And although Wanda June is hardly a perfect play, you will find it rousingly roisterous and more than a little relevant. Here’s part of my review of Wanda June, which you can read in its entirety over on Third Coast Review.
* * *
If you’re a Kurt Vonnegut reader, Happy Birthday, Wanda June will sound familiar. I was sure I had read it long ago when I was devouring everything he wrote. But no, I never read Wanda June. It’s not a novel; it’s one of Vonnegut’s short list of plays and the only one most people have heard of, because it also was a 1971 film.
But if you’re in New York, or can get there by November 29, you have the chance to see this wacky dark satire of American culture and America’s propensity for war and death, filtered through Vonnegut’s mad genius lens. Wheelhouse Theater Company is presenting Wanda June, smartly directed by Jeffrey Wise, at the Duke on 42nd Street, a cozy compact theater venue tucked in among the Times Square chaos.
Et cetera. And so it goes, as Vonnegut would say.
Please read the full review here.
As a followup to my review and comments on Haskell Wexler’s film, Medium Cool, here’s an important short film interview with Wexler, made in about 2014, the year before he died. Wexler talks about the film and his filmmaking. He describes the mood and atmosphere in Chicago at the time, his political attitudes, racism and the antiwar movement, and how Medium Cool came to be. Please enjoy.
Haskell Wexler invented a new hybrid form of filmmaking when he created Medium Cool, released in 1969. I saw the film back then, but was probably unconscious of anything but the story and its background—the antiwar protests and police action around the1968 Democratic National Convention in Chicago.
This is the film’s 50th anniversary and I celebrated by watching the film—three times. Once by itself and twice with the excellent commentary tracks included on the DVD. (You see, Netflix, that’s why some 3 million crazy people still subscribe to your DVD service—because it’s the only way we can view foreign films and classics like this. You have 40 times that in streaming subscribers, so I hope you keep finding us profitable too.)
Wexler layers a fictional story of a loner TV news cameraman, a single mom and her young son over cinema-verité-style documentary footage of news events leading up to the convention (Robert Kennedy’s assassination and funeral, the arrival of the protestors in Chicago, the preparation of troops, police and Illinois National Guard) with the events inside the convention hall (the old International Amphitheatre) and in Lincoln Park, Grant Park and on Michigan Avenue.
Wexler started researching his film at least a year in advance and had tips that there would be a major protest action surrounding the convention. Because of his planning, he was able to have his characters carry out the plot against a backdrop of actual convention footage and street protests. The other innovation is Wexler’s use of quick cuts and sharp transitions. He takes you from A to C without stopping at B to explain, as Roger Ebert says in his 1969 review. That’s a technique we are used to now, but it was probably jarring 50 years ago.
Robert Forster plays John, the cameraman, and Verna Bloom plays Eileen. The most striking sequence is near the end of the film when Eileen is frantically looking for her independent-minded son, Harold (a 13-year-old untrained actor, whose performance is rough, natural and phenomenal). Harold has wandered away from their home in an Uptown slum (a poor white migrant neighborhood at the time) to go down to Grant Park with one of his buddies. Eileen follows him downtown, looking frantically through the crowds and marching along with the protestors on their way to the convention site. She’s in the middle of the actual police attack on the protesters. Wexler very cleverly had Verna wear a bright yellow dress, which meant she was easy to follow in the crowd.
Finally Eileen and John connect and get in his car to continue the search for Harold.
The film ends with a tragic accident, which happens for no reason, as accidents do. (My sister Linda died at the age of 27 in a similar car crash in January 1970, a life ended for no reason. She died at the same age and in the same year as Jimi Hendrix and Janis Joplin.)
There are plenty of other dramatic elements to the film. One interesting segment involves a fictional story about a cabdriver who found a package with $10,000 in cash in his taxi and returned it to the owner. John visits his home to interview the driver and meets all his friends. It’s 1968, remember, and the driver’s friends (the whole cast in this sequence is African-American) are artists and activists. They accuse John of being a police spy and the conversation gets racially heated. (Some of the film is scripted and much of it is improvised, including most of this scene.)
In the newsroom, there are discussions of what it means to be a journalist today. And in one scene, John finds out that the TV station has been giving his news footage to the Chicago police. He explodes and eventually loses his job over it. And there’s Harold’s fascination with his pigeons, which he cares for on the roof of the building where they live.
The cameraman and his sidekick, the sound guy, are carrying the bulky equipment of the period. It’s interesting to imagine what Wexler might do today using a smartphone. Excellent films like Tangerine (2015) and Searching for Sugar Man (2012) were shot on smartphones. The Oscar-nominated The Florida Project was shot on 35mm in 2017.
Medium Cool is brilliant because Wexler, the director/cinematographer, starts with an idea and carries it out with style and intensity. Medium Cool is a masterpiece, a landmark film that never got much attention. At the time, it was given an X rating because of some nudity in a delightful bedroom chase scene. Because of DVDs (1995), you can see it today—and I recommend that you do.
You can read Roger Ebert’s 1969 review here. Rather than reviewing the film, he focuses on Wexler’s approach and technique, for reasons he explains.
It’s 1952 and a debut novel by a 23-year-old writer is published by Delacorte Press. Kurt Vonnegut Jr.’s Player Piano about a near-future society is categorized as science fiction and doesn’t get much attention.
I first read Player Piano many years ago. Probably some time soon after college, when I was devouring his other books, such as Cat’s Cradle; God Bless You, Mr. Rosewater; Sirens of Titan and Slaughterhouse Five. I read Player Piano then too, but my copy disappeared in one of my moves.
Recently my son Andrew mentioned that Player Piano has parallels to today’s society, made up of an elite, educated upper class and an underemployed lower class. I decided it was time to take another look at Vonnegut. I am amazed by how striking the parallels are to today’s society. And how prescient Vonnegut was, as a young writer/publicist working for General Electric in Schenectady, New York. He recreates that milieu in Player Piano as Ilium, home of the Ilium Works, “where machines hummed and whirred and clicked, and made parts for baby carriages and bottle caps, motorcycles and refrigerators, television sets and tricycles….”
The time is after the third world war, which was followed by riots, and a government clampdown on saboteurs. The machines developed in the wartime miracle now control every aspect of life and no humans are needed to operate them.
The hero of Player Piano is Dr. Paul Proteus, a brilliant engineer and head of Ilium Works. He’s mostly happy with his life as an engineer and manager and hopes for a promotion to run the Pittsburgh Works. So does his wife Anita. They’re part of the executive/engineer class who live a privileged life with high incomes and lavish homes and possessions.
The others? Since people are no longer needed to operate or control the machines, they are given the choice of serving in the Army or working for the Reconstruction and Reclamation Corps—the so-called Reeks and Wrecks, who fix bridges and fill potholes. The government provides everyone with an adequate income for home, food, clothing, healthcare, education—everything a family needs to survive. Perhaps you think people are happy to have all their needs provided without doing any real work? But no, people are depressed and desperate to do real meaningful work.
As one writer said about Player Piano, “The rotten core buried under a façade of shining machines is that this society has made humanity superfluous, sucked all meaning out of the world, and replaced humanist values with a machine ethic predicated upon a new holy trinity: ‘Efficiency, Economy, and Quality.’” Sound familiar?
Even human relations are mechanized, Vonnegut thinks. Paul talks about his wife being skilled at “the mechanics of marriage.” On their phone calls, Anita ends by telling Paul she loves him and he robotically replies, “I love you, Anita.”
Paul occasionally visits a certain bar in Homestead, the area where the Reeks and Wrecks live. He becomes aware of their unhappiness as he talks to workers who have ideas and skills they’d like to contribute, even though they’re unwanted.
Nevertheless, he loves the music of his machines. “The lathe groups, the tenors…. the welders, the baritones…. the punch presses, the basses.” He has nagging doubts about his life, which he tries not to acknowledge, until some dramatic events take place at the executive retreat on an island called The Meadows. It’s the kind of event you’d expect it to be: lots of team sports, structured camaraderie, controlled drinking and tight scheduling, announced by the omnipresent loudspeaker. Paul’s future life changes as a result and he ends up joining the revolution concocted by the underground Ghost Shirt Society, a group of radicals who want to destroy key machinery and restore dignity to human work.
There’s a second thread to Player Piano. A representative of the U.S. Department of State is escorting two foreign visitors around to various American cities. The Shah of Bratpuhr and his translator express an outsider’s skepticism of the wonders of American society. It’s Vonnegut’s technique, which he uses in other books, of showing a skewed perspective on our lives.
Player Piano isn’t a diatribe against technology. It’s a critique of corporatized society, of adopting technological change without any thought for social or political change. We can have machines control everything without any human operators, so let’s just do that.
Vonnegut’s writing is a mix of satire and black humor, social and political critique. He’s hard to categorize, which probably didn’t help his reputation among critics who find it more convenient to pigeonhole artists and writers. He’s more likely to be recognized for his literary genius since his death in 2007 gave critics a reason to fully explore his life and oeuvre.
So I highly recommend a reading or rereading of Player Piano for a break from your daily news and political blather. If you’re thinking well, this sounds interesting, but I don’t like sci-fi. Player Piano isn’t sci-fi. There are no aliens with weird-shaped heads, no humans with amorphous sexual abilities, no strange worlds defined by frost and desert. This is the U.S., populated by people like you and me. Furthermore, it’s a readable 340 pages, not a doorstop tome. You can buy it here or here or borrow it from your public library.
And now, it’s time to reread Vonnegut’s acknowledged masterpiece, Slaughterhouse Five.
Last week, more than 300 newspapers all over the country recommitted to the basic tenets of a free press and community service through journalism. At Third Coast Review, we thought it was important to take this same stand and point out that writers for online media are journalists too. We are thus bound to and supported by the First Amendment. Here’s my essay.
“Freedom of the press is guaranteed only to those who own one.” The famously acerbic journalist, A.J. Liebling, wrote that in the New Yorker in 1960. Although that may well have been true in 1960, today we are journalists without owning a press.
On August 16, more than 300 U.S. newspapers joined in editorial harmony to state vehemently that a free press is essential to America’s democracy and to counter the ridiculous and hateful statements of the current occupant of the White House. (Do I have to say his name?)
Initiated by the Boston Globe, the event was joined in by major metro dailies such as the Houston Chronicle and the New York Times, both Chicago dailies and the suburban Daily Herald and many smaller city newspapers all over the state and the country, such as the Durango (Colo.) Herald, the Kokomo (Ind.) Tribune and the Ripon (Wis.) Commonwealth Press. You can read the New York Times editorial and quotes from many of the 350 newspapers here.
We applaud the comments of all these important newspapers, large and small. We particularly liked this excerpt from the Sun-Times editorial:
“We are the enemy of nothing but ‘thoughts and prayers’ when children are slaughtered. We are the enemy of faked-up outrage.
“We are the friend of the teacher who never gives up, of the small business owner who hires ex-offenders, of the bus driver who makes every last stop, of the architect who designs a beautiful building, and of the bricklayer and ironworker who build it.
“We are the friend of an open lakefront, a clean Chicago River, excellent middle linebackers and deep-dish pizza.
“Above all, we are the enemy of bad journalism, and we commit ourselves each day to practicing the best journalism. We do our best to tell our city’s story, the sum total of every Chicagoan’s story, straight and fair, come what may.”
We want to point out that online news media also support and value the press freedom guarantee of the First Amendment. Our fellow online media—such as our friends at Block Club Chicago, the Beachwood Reporter, Reddit Chicago, and possibly Chance’s reborn Chicagoist—all benefit by the First Amendment. You may not think of this when you read our pop music reviews, our commentary on storefront theater, our videogame reviews and Third Coast Today, our regular news feature. But like our online colleagues, we are beneficiaries of the First Amendment and we damn well will publish whatever we think is important for our readers to know. And no government agency—should they know or care what we write about—will stop us. Not the city, or the police department, the county, the state of Illinois or any government agency. If Third Coast Review is ever silenced, it will be because of lack of funds or lack of support.
So as the Boston Globe and the New York Times requested, read and subscribe to your local newspaper. And read and share your local arts and culture site, Third Coast Review.
And I’ll add here, please read, share and support your local bloggers and other writers who comment on matters political and personal. Share their posts, comment on their sites and donate a few bucks if you can.
Spring Green is an arts center in nearby south central Wisconsin that’s easily accessible to Chicagoans interested in theater and the work of Frank Lloyd Wright. In a long weekend, you can see classic theater at the American Players Theatre (APT) on a hilltop in Spring Green and tour Taliesin, the home, studio and school built, rebuilt and rebuilt again by Frank Lloyd Wright, his apprentices and family. (This article was previously posted at thirdcoastreview.com.)
I was in Spring Green last week for the annual meeting of the American Theatre Critics Association and, as is our custom, we crammed as many plays as possible into the four-plus days. The conference was expertly organized by Madison ATCA members. Discussions included association-focused business plus panels and speakers on topics such as producing period comedy today, racial equity in theater, podcasting and legal/ethical issues in criticism. We also spent an afternoon on a private tour of Taliesin. First, a recap of some of the plays we saw. There are many theater connections between Chicago and APT, as you might imagine.
American Players Theatre
At the Hill Theatre, you’re seated in a natural bowl on the hillside. To reach it from parking and picnic grounds below, you walk up a hill through the woods on a gravel path. There’s also shuttle service to the hilltop. Your theater companions are hordes of mosquitoes, so the theater sets up “spray stations” around the grounds.
As You Like It by William Shakespeare
Set in 1870, As You Like Itis a totally delightful and quite traditional rendition of this happy-ending play, directed by James Bohnen. (Bohnen was longtime artistic director and cofounder of Remy Bumppo Theatre. He now also runs Arcadia Books in Spring Green, a fine indie bookstore and cafe.) Melisa Pereyra is a charming Rosalind and her friend Celia (Andrea San Miguel), her admirable sidekick. After Rosalind is banished by Duke Frederick, she and Celia head to the forest of Arden in disguise. Many scenes and many characters later, disguises are removed and several couples are happily joined in marriage.
An interesting casting choice is Chicago actor Tracy Michelle Arnold as Jaques (a role usually played by a male). At the end, Madame Jaques declines to return to court and makes her own way. During a later discussion, someone suggested that Madame Jaques represents one of those 19th century woman travelers. (As dramatized in the play On the Verge or the Geography of Learning by Eric Overmyer.)
The settings on the Hill Theatre stage are simple and built on the gray frame structure that holds the theater’s sound and lighting equipment. (Actors in Hill Theatre are never amplified because the company prefers natural sound. Thus the company doesn’t stage musicals.)
Born Yesterday by Garson Kanin
You probably know the story of Billie Dawn, the “dizzy blonde” who really isn’t, and her thuggish boyfriend. Remy Bumppo Theatre staged an excellent version in 2017. APT’s production brightened our Saturday night, starring Colleen Madden as Billie, David Daniel as Harry Brock and Reese Madigan as Paul Verrall, the journalist who becomes Billie’s tutor and more. Direction by APT artistic director Brenda DeVita was spot-on and each actor kept the pace and the sparkling dialogue.
Set in a luxury suite in Washington DC in 1946, Nathan Stuber’s scenic design adds black and metallic art deco ornament and furnishings to the Hill Theatre backdrop. Fabio Roblini’s costume designs, especially for Billie, are exquisite and timeless.
Haven’t seen Born Yesterday lately? Get a DVD of the 1950 film, starring Judy Holliday and Broderick Crawford. Holliday won an Oscar and a Golden Globe for her performance.
At the Touchstone Theatre.The Touchstone, opened in 2009, is located about halfway up the hill and it’s enclosed, air-conditioned and sans mosquitoes. Both venues have raked seating, so sightlines are excellent no matter where your seat is.
Blood Knot by Athol Fugard
Fugard’s 1961 play, set in Port Elizabeth, South Africa, during apartheid, tells the story of two brothers who live together in a shack in the “colored” section. They have the same mother but different fathers. Zachariah (Gavin Lawrence) works for an oppressive white boss and comes home each evening to soak his aching feet and eat a meal prepared by his at-home brother, Morris (Jim DeVita). Zach is dark-skinned and Morris is a light-skinned man who can “pass” for white and apparently has in the past. Chicago’s Ron OJ Parson directs this slow-burner of a play. Act one sets up the story of Zach’s desire to meet a woman and Morris helps him meet a newspaper “pen pal.” (Yes, that’s how people met before OKCupid and Tinder.)
The pen pal sends her photo (she is a white woman) and later says she plans to visit Port Elizabeth and wants to meet Zach. The two brothers, who have engaged in role-playing games since they were children, embark on a plan. In act two, the games ratchet up to an explosive level. This is a intense play about an era of a different sort of racism than the racism we live with now.
Both actors deliver powerful performances, but there has been controversy over the casting. In early productions of the play, Fugard, who is white, played Morris. And DeVita is white. The optics of the casting selection are tainted because it was made by his wife, artistic director Brenda DeVita. Director Parson came on later but apparently he concurs with the decision.
The controversy is addressed in this article in American Theatre magazine. These questions of representation and appropriation have been roiling the theater world recently. APT has decided to expand the conversation with a special “pay what you like” performance of Blood Knotat 12noon on Sunday, August 12. The performance will be followed by a panel discussion to explore the issues in the play, including the casting.
Exit the King by Eugene Ionesco
Ionesco’s 1962 absurdist play is the story of King Berenger (APT veteran James Ridge), who is told by his first wife, Queen Marguerite, and his doctor that he has only hours to live. His current wife, Queen Marie (the lovely Cassia Thompson) does everything she can to keep him alive. His kingdom is crumbling around him, he has lost all his powers, the birth rate is zero, and by the way, he’s 400 years old. The Doctor (James Pribyl) tells the king, “In three days you lost all the wars you ever won.” Every action in the play is announced by the Guard (Chicago actor Casey Hoekstra), usually to ridiculous extremes.
Marguerite is played by Tracy Michelle Arnold, who also plays Jaques in As You Like It. Arnold and Thompson are both beguiling in their parts but I thought Ridge’s characterization was weak. (We saw him again that night in Born Yesterday, where he plays Senator Hedges.) Exit the King (the only APT production we saw that runs under two hours) is a witty and moving meditation on death and mortality. APT’s production is uneven, but worth seeing if you visit Spring Green.
Our three-hour tour of Frank Lloyd Wright’s 800-acre estate included his former home, studio and school. (More info below about tour options, prices, etc.) I was in two different groups for the tour—first of the Hillside School, Studio and Theater and second of the house known as Taliesin 3. The two groups were led by capable and knowledgeable docents Kyle Adams and Jill McDermott.
The school was built in 1902 to replace the one his aunts had built in 1887. The building features the Assembly Hall, a typically spacious Wright area with a high ceiling, dark and light contrasts in the woodwork and ceiling framing. Built-in furniture pieces were added later. The Drafting Room, in use today by architects and apprentices, has an interesting striped wood flooring, left over from FLW’s design for the Johnson family Racine house, Wingspread.
In the theater, Taliesin’s apprentices and staff would perform plays, musical and literary events and view performances by guests. The colorful theater curtain was designed by Wright and made by the apprentices.
The original house was mostly destroyed by the 1914 fire, an event that included the murders of Wright’s lover, Mamah Borthwick Cheney (both had left their spouses to be together), and her children, by a Taliesin workman. Later fires destroyed parts of the house, thus the terminology, Taliesin 3. Half of the extensive house was built for agricultural purposes and functioned originally as animal sheds. The house features many FLW touches, such as bands of windows that frame the grand view of the rolling hills, river and countryside. At one point, the Wisconsin electric company installed electric poles and lines across the land. Wright was incensed and demanded they be removed, because they spoiled his view. (They were eventually replaced by underground wiring.)
Want to learn more? If you’re interested in learning more about the development and history of Taliesin, there are many FLW biographies, of course. But I recommend The Fellowship: The Untold Story of Frank Lloyd Wright & the Taliesin Fellowship by Roger Friedland and Harold Zellman (2006, Harper Collins, 690pp). The authors, a sociologist and an architect, tracked down and interviewed dozens of the apprentices who worked with Wright at Taliesin. Their stories are epic but detailed in the everyday activities, tragedies and scandals at Taliesin, where Wright, a genius, egotist, misogynist, racist and anti-Semite, ruled with an iron hand. He couldn’t manage money and was greatly influenced by his third wife, Olgivanna, who was a devotee of the Greek-Armenian spiritualist, Georgi Gurdjieff. The book is rich in detail, gossipy, well-researched and annotated, and impossible to put down.
Tourist tips for visiting Spring Green
Try to plan your trip when the weather is not hot and humid. If I go to APT again, I will choose a time in late September or October. Sitting in the Hill Theatre when the temperature is in the high 80s and very humid and you are covered with insect repellent and persistent mosquitoes is not my idea of comfort. And in midsummer, the sun is out until well into the first act, so there’s not much relief from the heat. I know the Greeks invented outdoor theater, but they didn’t have electricity and air-conditioning. I’ll take my theater inside, with AC and no bugs, thank you. It’s hard to concentrate when you’re miserable and bug-swatting.
Dress casually and wear comfortable walking shoes. Bring water or other beverages, bug spray if you don’t like DEET, and something to fan with.
To order theater tickets, see the calendar for the full list of plays and order online or call 608-588-2361. Ticket prices range from $51 to $86, depending on day and location. Here’s a helpful page of tips from APT.
To tour Taliesin, see tour options and make reservations here. Tickets are $54 each for the two-hour House or Highlights tours, $22 for the one-hour Studio and Theater tour, and $90 for the four-hour Estate tour. Other tours are available too. At the Frank Lloyd Wright Visitor Center, you’ll find a gift shop and the Riverview Terrace Café, serving produce grown at Taliesin.
Dress casually and wear comfortable walking shoes. You’ll be walking on uneven ground and old stone paths. Bring sunscreen, bug spray, water and something to fan with. At Taliesin, most interior spaces are not air-conditioned.